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UNITED STATES OF AMEEICA. 



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PSALMODIA, 



PASTOR'S PLEA FOR SACRED PSALMODY. 



PSALMODIA, 



OR THE 



pastor's 33lea tov Sacvtfr ^satmofcg. 



u Psalmody is the exercise and worship of heaven; and 
there is just so much of heaven on earth, as there is of the 
true spirit of psalmody." — Ev. Mag. 



BY F. FREEMAN, 

RECTOR OF ST. DAVID'S CHURCH, MANAYUNK, 



J 

PUBLISHED BY J. WHETHAM, 
No. 22 South Fourth street, Philad. 

AND BY EZRA COLLIER, 148 NASSAU STREET, NEW-YORK, 

1 8 3 6 . 






Entered according to the Act of Congress, in the year 
1836, by J. Whetham, in the Office of the Clerk of the 
District Court of the Eastern District of Pennsylvania. 



-2/ 4//- 



WILLIAM STAVELT, PRINTER, 

No. 12 Pear Street. 



ADVERTISEMENT. 

The following pages are submitted to the 
public, with the hope that they may contribute 
to awaken a greater interest, and promote more 
correct views, in relation to the important sub- 
ject therein discussed. They embody the sub- 
stance of an address on Sacred Psalmody, deli- 
vered by the author to the congregation of his 
charge, with some additional matter and occa- 
sional notes. He has been surprised to find so 
little written on this interesting subject; and 
confidently hopes that if these pages accom- 
plish no greater good, they will at least suggest 
Co some friend of Church Psalmody the impor- 
tance of taking up and pursuing the subject 
with an abler pen. 

July 28, 1836. 



1* 



"it was for the raising up of 
men's hearts, and the sweeten- 
ing OF THEIR affections to- 
wards GOD, THAT THE PROPHET 
DAVID, HAVING HAD SINGULAR 
KNOWLEDGE, NOT IN POETRY 
ALONE, BUT IN MUSIC ALSO, JUDG- 
ED THEM BOTH TO BE THINGS MOST 
NECESSARY FOR THE HOUSE OF 

god." — Hooker. 



DEDICATION. 

TO THE 

choir of st. david's, 

AND 

TO THE CONGREGATION OF THE SAME, 

THIS 

PLEA FOR SACRED PSALMODY 

TS RESPECTFULLY DEDICATED, 

WITH THE 

BEST "WISHES 

OF THEIR AFFECTIONATE 

PASTOR. 



PSALM 79. 

From the 100th Psalm of David. 

1. With one consent let all the earth 
To God their cheerful voices raise ; 

Glad homage pay with awful mirth. 
And sing before him songs of praise : 

2. Convinced that he is God alone, 
From whom both we and all proceed; 

We whom he chooses for his own, 
The flock that he vouchsafes to feed. 

3. O enter then his temple gate, 
Thence to his courts devoutly press ; 

And still your grateful hymns repeat, 
And still his name with praises bless. 

4. For he's the Lord, supremely good ; 
His mercy is for ever sure ; 

His truth, which always firmly stood, 
To endless ages shall endure. 



CONTENTS. 



PART I. page 

INTRODUCTORY REMARKS, - - 13 

PART II. 

THE DUTY OF SINGING GOd's PRAISE. 

Chap. 1. God requires our worship, 19 

" 2. Music of divine institution, 24 

" 3. Continued in the New Testament, - 32 

PART III. 

THE MANNER IN WHICH THE DUTY SHOULD BE 
PERFORMED. 

Chap. 1. There must be music in the song, - 39 

" 2. The voice must be cultivated, - 46 

" 3. The ear must be improved, 50 
" 4. The singing should be congregational, 54 

" 5. The sentiment appropriate, - - 60 

" 6. Expression, 70 

7. Tunes, 7S 

" 8. Instrumental accompaniment, - 93 

" 9. The deportment, - ' - - - 100 

" 10. The heart engaged, - - - 102 

" 11. The duty to be performed to God, - 106 

" 12. The Holy Spirit's influence, - - 110 

PART IV. 

Conclusion, - - - - 115 

Appendix, - - - - - - 127 



"Next unto theology, I give 

THE PLACE AND HIGHEST HONOUR 

unto music." — Mw tin Luther, 



PLEA FOR PSALMODY. 



PART L 

INTRODUCTORY REMARKS. 

" Sing praises to God, sing praises ; sing praises 
unto our King, sing praises ; for God is the 
King op all the earth, sing te praises with un- 
derstanding." — Ps. xlvii. 6, 7, 

David was not only an inspired prophet, 
but a divine poet and an eminent musi- 
cian. His Psalms, which were originally 
written in Hebrew, appear to have been 
designed for the stated use of God's people 
in public worship. The words of the Psalm- 
ist above recited are a part of a hymn which 
he composed to celebrate in prospect, the 



14 PLEA FOR PSALMODY. 

ascension of our blessed Redeemer. Fore- 
telling that glorious event, the Psalmist 
says, " God is gone up with a shouk— -the 
Lord with the sound of a trumpet;" and 
then, as if with ecstacy of devotion, he 
exclaims in the words before us, " Sing 
praises to God, sing praises; sing praises 
unto our King, sing praises; for God 
is the King of all the earth; sing ye 
praises with understanding" 

That the celebration of God's praise, in 
sacred psalmody, is a divine institution* 
there can be no reasonable doubt; and we 
have good reason to believe that it has 
been from the commencement of social 
worship in the world. As when creation, 
was first launched from its mighty Maker's 
hand, "the morning stars sang together^ 
and all the sons of God shouted for joy,"^ 

* Job xxxviii. 7.- 



PLEA FOR PSALMODY. 15 

so it would seem that this primeval exam- 
ple was early imitated on earth. 

If we go back to the time of Israel's de- 
livery out of Egypt, we find that whole 
people, in one great congregation, on the 
shores of the Red Sea, celebrating in the 
song of Moses their wonderful deliverance, 
and the signal overthrow of their enemies.* 
And although this is the first instance on 
record, by which we have certain evidence 
cf the early use of sacred psalmody in the 
worship of God, we may well suppose that 
since it is not mentioned by the sacred 
penman as then first practised, it w T as not 
the first time that the Church so worship- 
ped. Scripture, it is true, is silent on the 
subject; but it is not unreasonable to sup- 
pose that from the time of Jubal, the 
grandson of Methusael, who " was the fa- 

* Exodus xv. 



Id PLEA FOR PSALMODY. 

ther of all such as handle the harp and 
organ/'* music has been cultivated, not 
only as a polite art and accomplishment, 
but as a mode of social worship, if not from 
the very creation of man. 

It is the worship of the heavenly world ; 
and why should it not from the very begin- 
ning have been the expression of adoring 
gratitude, and love and praise, by the ra- 
tional inhabitants of earth? 

That to which we have already advert- 
ed, before a note could have been tuned by 
mortal lips, is not the only instance in 
which the holy intelligences of heaven are 
represented as celebrating the praises of 
God in holy song. When God appeared 
on earth in fashion as a man, " a multitude 
of the heavenly host" came down, and in 
anthems sweet, sang "Glory to God in the 

* Genesis iv. 21. 



■PLEA FOR PSALMODY. 17 

highest, and on earth peace, good will to- 
ward men."* And so they are represented 
by the Revelator as praising God in hea- 
ven.f 

"Their golden harps they take, 
Harps ever tuned :" redeemed and angels join 
In harmony-; " and with preamble sweet 
Of charming symphony, they introduce 
Their sacred song, and waken raptures high : 
No voice exempt — no voice but well can join 
Melodious part." 

The numerous instances of praise offer- 
ed to God in sacred melody, recorded both 
in the Old Testament and in the New 7 , it 
may be impracticable here to mention. 
The Holy Scriptures abound with these 
instances, and show that music has ever 
found a place in the public worship of God 
in every period of the Church. But that 
the obligation to worship God in this way, 

* Luke ii. 13, 14. t Revelation v. 9—13, <fc xiv. 1—3. 
A 2 



18 PLEA FOR PSALMODY. 

and that the manner of worshipping him 
with acceptance, may be the more obvious, 
we may advert to other instances whilst 
we consider the duty of singing God's 
praise, and the manner in which this duty 
should be performed. 



PLEA FOR PSALMODY. 19 



PART II. 

THE DUTY OF SINGING GOD'S PRAISE, 



CHAPTER I. 

GOD REQUIRES OUR WORSHIP. 

" If a man is grateful to his benefactor, he will tell him 
so ; if no acknowledgments are made, and no outward 
signs of gratitude manifest themselves, he will be 
chargeable with ingratitude. But if expressing our 
gratitude and praise from time to time, in words, is by 
the Deity required of us as a duty, if it is beneficial 
to ourselves, and if, as an example, it has good effects 
on our fellow men, no argument can be necessary to 
prove the propriety of the practice of public worship." 

Dr. Beattie. 

That social and public worship of the infi- 
nite fountain of all being and blessedness, 



20 PLEA FOR PSALMODY. 

in some form, is a duty of perpetual obli- 
gation, is taught even by the light of na- 
ture, and the voice of reason, as well as 
by the authority of revelation, and is ad- 
mitted by almost all people. Its important 
relation to the interests of society has been 
felt and confessed even by infidels, whilst 
the true worshipper finds in the perform- 
ance of this duty, the most sublime plea- 
sure and satisfaction. The worship which 
he offers as a duty, he realizes also as the 
highest privilege, the principle of obedi- 
ence being always found the source of 
all true enjoyment. In the spirit of true 
devotion, uniting our homage to our Maker, 
with the offerings of others, we practi- 
cally recognize one common origin — one 
Father in heaven — ourselves sustaining the 
same filial relation — brethren and children 
of one family — acknowledging the same 
dependence — having the same interests — 



PLEA FO? PSALMODY, 21 

feeling the same obligations — needing the 
same mercies — engaged in the same ser- 
vice — seeking the same salvation — looking 
forward to the same eternity — hoping for 
the same heaven; and we find that it is 
good thus to worship. We become attach- 
ed to the employment, and as the love of 
God w 7 arms in our hearts, our affectionate 
and adoring thoughts of Him increasing 
with the elevation of our devotion, we feel 
a nearness of affection one to another. 

Such thoughts and feelings possessed the 
soul of the pious Psalmist when he exclaim- 
ed, " I was glad when they said unto me, 
Let us go into the house of the Lord;"* 
and similar views and feelings, in relation 
to this duty, possess the heart and influence 
the conduct of all who truly worship God. 
They can say with David, "One thing 

* Psalm cxxii. 1. 



22 P1EA FOR PSALMODY. 

have I desired of the Lord, that will I seek 
after ; that I may dwell in the house of the 
Lord all the days of my life, to behold the 
beauty of the Lord, and to inquire in his 
temple."* 

He who is the former of our bodies, the 
father of our spirits, and the preserver of 
our lives, will be glorified by the works of 
his hands. He requires our worship, and 
knows what is for our good, delighting in 
the prosperity of his servants, and wonder- 
fully and graciously adapting his worship, 
as a means of grace, to our necessities. 

That the worship of the true God has, 
from time immemorial, been generally con- 
ducted, among all Christian people, with 
the aid of music, history furnishes full evi- 
dence. From this fact that the public 
worship of God by music has always been 

* Psalm xxvii. 4. 



PLEA FOR PSALMODY. £> 

practised by the Church, receiving the di- 
vine sanction in the blessings which have 
been poured upon her in every age, we 
might naturally infer the duty. There can 
be no room for doubt, however, if it be 
found by direct evidence to be of divine 
institution. That it is we shall show iu 
the next chapter. 



24 PLEA FOR PSALMODY. 



CHAPTER II. 

DIVINE INSTITUTION OF MUSIC, UNDER THE OLD 
TESTAMENT DISPENSATION. 

" Let all the people praise thee, O God ; yea, let all 
the people praise thee." — David. 

That singing the praise of God was an or- 
dinance enjoined upon, and practised by 
the Church under the Old Testament dis- 
pensation is evident from the many inspired 
psalms or songs which were given to be 
used by the Church in solemn acts of wor- 
ship. We have already adverted to that 
which "Moses and the children of Israel" 
sang, when Pharoah and his host were 
drowned in the Red Sea. Just before Moses 
received the summons from God to view 



PLEA FOR PSALMODY. 25 

the promised land and die, he was directed 
of God to write a song, "and teach it to 
the children of Israel, and put it in their 
mouths,"* which we are told he did as he 
was commanded.f We find also conspicu- 
ous in the Old Testament-scriptures, " the 
song of Deborah,"^ and of Hannah.§ And 
in the days of David we find appointed in 
the Church, by divine direction, an order 
of persons called " Singers," who w r ere to 
preside over and lead in this part of public 
worship. || These "whom David set over 
the service of song in the house of the 
Lord," kept up that service, it appears, in 
the tabernacle, until the first temple was 
built by Solomon. This service being con- 
tinued by Solomon in the temple, they then 
" waited on their office" there, as in the 

* Deut. xxxi. 19. f Deut. xxxi. 22 ; & xxxii. 1—43. 

t Judges v. § 1 Samuel li. HChron. vi. 31 ; & xvi. 4 — 43- 

B 



20 PLEA FOR PSALMODY. 

tabernacle afore.* The same worship wag 
re-established by Ezra, as soon as the foun- 
dation of the second temple was laid.t 

Those whom David appointed especially 
to superintend and lead the service of the 
sacred song, in the tabernacle, were " He- 
man, Asaph, and Ethan, one of each of the 
three houses of the Levites ;" and such was 
the order observed in this honour and ser- 
vice, that each must know his place, 

* "And they ministered before the dwelling-place of the 
tabernacle of the congregation with singing until Solomon 
had built the house of the Lord in Jerusalem ; and then 
they waited on their office, according to their order." 
1 Chronicles vi. 32. See also 2 Chronicles v. 12, 13, 14. 
Bishop Patrick considers part of this passage, viz. that 
" when the trumpeters and singers lift up their voice, and 
praised the Lord, the house was filled with a cloud so that 
the priests could not stand to minister," as an " intimation 
that the Levitical priesthood would cease, and stand no 
longer to minister when the Messiah should come ;" the 
sacrifices of praise and thanksgiving being still accepted. 

tEzra iii. 10, 11. 



PLEA FOR PSALMODY. 27 

Asaph standing on the right hand of He- 
man, and Ethan on their left;* whilst Aaron 
and his sons, as priests, must offer "upon 
the altar the burnt-offering, and on the 
altar of incense, and were appointed for 
all the work of the place most holy, and to 
make an atonement for Israel, according to 
all that Moses, the servant of God, had 
commanded," in giving the ceremonial 
law.t 

The singing of Psalms, as an act of re- 
ligious worship, we have seen " was used 
in the Church before the giving of the cere- 
monial law,J and therefore is to be consi- 
dered as neither a part of it, nor abolished 
with it."§ Nor should it be ; for, as a dis- 

* 1 Chron. vi. 33, 39, 44. 1 1 Chron. vi. 49. % Exodus xv. 

§Mr. Henry says that David "was raised up, qualified, 
and spirited for the establishing of the ordinance of singing 
Psalms in the Church of God, as Moses and Aaron were in 
their day for the settling of the ordinances of sacrifice. 



28 PLEA FOR PSALMODY. 

tinguished commentator has justly remark- 
ed, " singing is as much the language of 
holy joy, as praying is of holy desire."* 

The Psalms of David,t which were given 

Theirs is superseded ; but his remains, and will to the end 
of time, when it shall be swallowed up in the songs of 
eternity." 

* Mr. Matthew Henry. 

t These Psalms are entitled in the Hebrew, EZrVnn 
^3Q (Sepher Tehtllim,) which signifies the Book of 
Hymns, or Praises ; the praises of God constituting their 
chief subject-matter: and as they were set, not only to be 
sung with the voice, but also to be accompanied with mu- 
sical instruments, the Septuagint version, (so called be- 
cause it is said to have been translated by 72 Jewish Rab- 
bies at the appointment of Ptolemy, King of Egypt,) the 
most authentic Greek translation of the Old Testament, de- 
signates them BIBAOS TAAMHN, the Book of Psalms, 
which name is retained in our English Bibles. 

They are generally termed the Psalms of David, that 
Hebrew monarch being their chief author. Several of the 
ancient fathers, among whom are Origen, Chrysostom, Au- 
gustine, Ambrose, Euthymius, and others, believe that he 
was the sole author. It is very certain that he was the 
author of most of them. It is also equally certain that 
these Psalms, though composed at different times, and on 



PLEA FOR PSALMODY. 29 

by divine inspiration evidently for the use 
of the Church, that she might be at no loss 
ever as to the subject-matter of praise in 
this ordinance; and which, together with 
the regular and noble form which he gave 
to the musical part of the Jewish service, 
obtained for him the name of " the sweet 
Psalmist of Israel,"* have been the ma- 
nual of the Church in her praises from age 
to age. In this inspired " epitome of the 
Bible," we not only find the whole congre- 
gation, and all people exhorted to sing 

various occasions, and put together apparently without any 
reference to, or dependence on one another, in readiness 
for the service of the Church, are a part of " the oracles 
of God," and given by inspiration of the Holy Ghost. 
Nearly fifty of the Psalms are quoted, or referred to, in the 
New Testament. Our Lord himself introduces a passage 
from the Psalms, saying, "David himself said by the Holy 
Ghost. 1 ' St. Paul, quoting from them, says, " Wherefore, 
as the Holy Ghost saith, To-day, if ye will hear his voice." 
* 2 Samuel xxiii. 1. 

b2 



30 PLEA FOR PSALMODY. 

praises to God, " Sing unto the Lord, O ye 
saints of his, and give thanks at the re- 
membrance of his holiness :"* " Sing aloud 
unto God our strength; make a joyful noise 
unto the God of Jacob:" but it is added, 
" For this was a statute for Israel, and 
a law of the God of Jacob."! Some- 
times the whole Church are represented as 
calling and exciting one another to this 
duty; as in the anthem at the commence- 
ment of the usual morning praise of the 
Church in the sanctuary, " O come, let us 
sing unto the Lord ; let us make a joyful 
noise to the Rock of our salvation. Let 
us come before his presence with thanks- 
giving, and make a joyful noise unto him 
with Psalms: for the Lord is a great God, 
and a great King above all gods ;"J and 
again, in a subsequent part of the morning 

* Psalm xxx. 4. t Psalm Ixxxi. 1, 4. 

t Psalm xcv. 1—3. Venite exultemus Domino. 



PLEA FOR PSALMODY. 31 

praise, " Make a joyful noise unto the 
Lord, all ye lands;" (showing that the 
duty belonged not only to the Jews, but to 
all nations.) "serve the Lord with glad- 
ness ; come before his presence with sing- 
ing."* In another place it is more than in- 
timated that ceremonial offerings under 
the law, were not so important a part of 
public w r orship as that of praise: — "1 will 
praise the name of God with a song, and 
will magnify him with thanksgiving. This 

ALSO SHALL PLEASE THE LORD BETTER THAN 
AN OX OR BULLOCK, "t 

* Psalm c 1, 2. Jubilate Deo. — §Cr In this, and the pre- 
vious quotation, it has been thought proper, for the sake of 
uniformity, to have reference to the version of the Psalms 
in our common English Bible, as made by the translators em= 
ployed by king James the 1st., rather than to that in the book 
of Common Prayer, which, executed in 1539, is more an- 
cient ; but, " being very excellent, and familiarized by cus- 
tom, is retained in the Liturgy." 

t Psalms lxix. 30, 31, 



32 PLEA FOR PSALMODY. 



CHAPTER III. 

MUSIC A DIVINE INSTITUTION, CONTINUED UNDER 
THE NEW-TESTAMENT DISPENSATION. 

" The singing of Psalms as an act of religious wor- 
ship, was used in the Church of Christ before the giv- 
ing of the ceremonial law, and therefore is no part of 
it, nor abolished with it." — Matthew Henry, 

If we appeal to the New Testament, we 
shall find that the continuance of this 
branch of divine worship enjoined and 
practised under the Old-Testament dispen- 
sations, is confirmed by the example of our 
Lord and his disciples, as also particularly 
by the instructions of St Paul. 

Not to refer particularly to the songs of 
Mary, and Zacharias, and Simeon, to show 
that the practice of divine psalmody was 



PLEA FOR PSALMODY. 33 

continued in the New-Testament Church, 
we find our Saviour, at the close of the 
ordinance of the holy Supper, at the time 
of its institution, singing an hymn with 
his disciples.* At another time, we find a 
" multitude of the disciples" of our Lord, 
rejoicing and praising God " with a loud 
voice," saying, " Blessed be the King that 
cometh in the name of the Lord : peace in 
heaven, and glory in the highest." They 
were not, it is true, in the temple — nor in 
the synagogue — nor yet indeed in that 
"upper-chamber" where the sorrowing dis- 
ciples afterwards worshipped ; they were 

* Matthew xxvi. 30. Mark xiv. 26. This hymn " is gene- 
rally supposed, and that upon good grounds," to have been 
taken from the Book of Psalms. The hymn usually sung 
by the Jews, at the conclusion of the Paschal supper, and 
to which custom our Lord seems to have respect here, was 
what the Jews called " the great Hallel," consisting of the 
psalms from the 113th to the 118th inclusive. — See Bishop 
Home. 



34 PLEA FOR PSALMODY. 

"nigh to the descent of the Mount of 
Olives," and nature was their temple: it 
was a solemn act of religious worship how- 
ever, and an offering approved hy our Sa- 
viour, as appears hy his reply to the offend- 
ed Pharisees.* "Paul and Silas prayed 
and sang praises unto God," when, " at 
midnight," God appeared in so wonderful 
a manner for their deliverance.f 

In writing to the Church at Corinth, the 
Apostle Paul recognises this duty as of di- 
vine authority, reproving the Corinthians 
for a disorderly mode of worshipping, in 
that "every one" of them had " a psalm 
— a doctrine— a tongue— a revelation— an 
interpretation," each worshipping in his 
own way. J They could not, after this 

* Luke xix. 38, 40. t Acts xvi. 25. 

| Perhaps the whole assembly were wont to worship in 
various ways at the same time. 1 Corinthians xiv. 15,26. 



PLEA FOR PSALMODY* 35 

manner, worship with the understanding, 
if they might with the spirit; and such 
confusion and disorder were, surely, of a 
tendency to prevent edification and spiri- 
tual worship. The Apostle, therefore, 
would have them so regulate their worship 
that it might be both acceptable to God, 
who, he declares, "is not the author of 
confusion, but of peace, as in all Churches 
of the saints," and profitable for them- 
selves. He neither discourages them in 
the proper performance of the duty, nor 
does he withhold the benefit of either pre- 
cept or example. "I will sing with the 
Spirit," he says; u and I will sing with 

THE UNDERSTANDING ALSO." 

This duty the Apostle Paul also enjoins 
in writing to the Church at Colosse : " Let 
the word of Christ dwell in you richly in 
all wisdom; teaching and admonishing one 
another in psalms and hymns, and spi- 



36 PLEA FOR PSALMODY. 

ritual songs; singing with grace in your 
hearts to the Lord."* And, again, in writ- 
ing "to the saints at Ephesus, and to the 
faithful in Christ Jesus," he exhorts and 
commands, "Be filled with the Spirit: 
speaking to yourselves in psalms and 
hymns and spiritual songs — singing and 
making melody in your heart to the 
Lord ;"t showing not only that this is a 
gospel-ordinance, but that it is not neces- 
sarily confined to praise alone, having also 
something in common with prayer and re- 
ligious instruction and admonition. And 
that this ordinance is to be used for these 
purposes as well as for praise, appears 
from the subject-matter of many of the 
psalms of David, some of w r hich are prayers 
with confession and thanksgivings, while 
others are exhortatory, or admonitory, as 

* Colossians iii. 16. t Ephesians v. 18, 19. 



PLEA FOR PSALMODY. 37 

well as declaratory of God's greatness and 
goodness and mercy.* 

It would be easy here also to show how 
the practice of sacred psalmody has sub- 

* ■ Psalms' is a general term, which may mean " all me- 
trical composures fitted to be sung, which may as well be 
historical, doctrinal, or supplicatory, as laudatory. Though 
singing be properly the voice of joy, yet the intention of 
the songs is of much greater latitude, to assist the memory 
and both to express and to excite all the other affections, as 
well as that of joy." 

" It cannot be denied that the Psalms of David are called 
indifferently by the three names, psalms, hymns and songs." 
— Ridgley's Body of Divinity. 

Says Hooker, " It was for the raising up of men's hearts 
and the sweetening of their affections towards God, that 
the prophet David having had singular knowledge, not in 
poetry alone, but in music also, judged them both to be 
things most necessary for the house of God, and left be- 
hind him to that purpose a number of divinely indited 
poems ; and was further the author of adding unto poetry, 
melody in public prayer, in which consideration the 
Church of Christ doth likewise at the present day retain it 
as an ornament to God's service, and an help to our devo- 
tion." — Eccl. Polity. 



38 PLEA FOR PSALMODY. 

sisted through every succeeding age, from 
primitive times, to our own, " not more to 
the delight than to the edification of the 
Church of Christ. In this respect, there 
ever has existed, and there still exists, a 
wonderful communion of saints/' But 
more on this subject is unnecessary. From 
what we have seen, whether under the 
Old Testament dispensation, or under the 
New, it naturally and rightly follows that 
we ought to regard sacred music in the 
public worship of God, as an ordinance of 
divine appointment, in which the Church 
should ever seek to glorify God, and " set 
forth his most worthy praise*" 



PLEA FOR PSALMODY. 39 



PART III. 



THE MANNER IN WHICH THE DUTY OF SING- 
ING god's PRAISE SHOULD BE PERFORMED. 



CHAPTER I. 

THERE MUST BE MUSIC IX OUR SOXG. 

" Constituted as man is, there is no vehicle like 
sound for lifting the soul upward to the eternal source 
of glory and harmony; and viewing ourselves as 
bound to praise God with such powers as he has 
given us, we are equally bound to give him our best 
and most appropriate service." — The Missionary. 

God has bestowed on our race, in addition 
to the faculty of speech, the gift of music, 
as a medium of communion with each other 



40 PLEA FOR PSALMODY. 

and with himself; and has appointed it as 
a means of the sublimest exercises of de- 
votion, as if with special intent that " the 
praises of his Church on earth may ap- 
proximate as near as possible to the spiri- 
tual and refined worship" of the Church 
in heaven. Through the influence of mu- 
sic, the very senses become, as it were, 
hand-maidens of devotion. By the har- 
monious combination of a few notes, with 
their various modulations, the mind, through 
the organs of hearing, and the sympathy 
of the nervous system, not only receives 
peculiar pleasure — sometimes exquisitely 
refined sensations of delight — but exciting 
the affections to the sublimest exercises of 
devotion and praise, we are prepared for 
more lively and extatic enjoyment of di- 
vine communion, and are thus assisted in 
near approaches to the throne of grace: 

" On eagle-pinions borne, 
We scale the mount of God." 



PLEA FOR PSALMODY. 41 

Music, it has been well said, "is a re- 
fined species of elocution; and, as such, 
its office is to enforce upon the heart the 
sentiment which is sung. 

" Who has not felt the words of Divine 
truth sink deep into his heart, when they 
have been accompanied with the thrilling 
and irresistible tones of an earnest and 
commanding elocution? Music has a si- 
milar power ; it can move or melt an 
audience, and ought therefore to be 
made a powerful auxiliary to the faithful 
preacher."* 

" Music speaks the heart's emotion, 
Music tells the soul's devotion ; 
Music heavenly harps employs; 
Music wakens heavenly joys." 

4 

* Lowell Mason, Esq., of Boston, President of the 
Handel and Hayden Society, and the compiler of their se- 
lections, who has devoted a large portion of his time to 
the improvement of Church music, and is better acquaint- 
c2 



42 PLEA FOR PSALMODY. 

In order that it may accomplish its end, 
sacred music must be properly conducted, 
that we may rightly direct, or join with 
propriety, in this part of worship, all things 
in the services of God's house being done 
decently and in order, reason and common 
sense, as well as the spirit of holy Scrip- 

ed with the subject probably than (we may almost venture 
to say,) any other person in the country. We are not un- 
mindful, however, of the great service rendered to the de- 
partment of sacred music by a Hastings, a Wainwright, 
and others. 

Mr. Mason further remarks, " It must do this," (that is, 
singing must enforce upon the heart the sentiment which 
is sung,) " more effectively than the simple reading of the 
same words can do, otherwise it is useless ; and better that 
music should not be introduced at all into public worship, 
if it fail to accomplish this end. Indeed, its influence in 
the Church cannot be of a more negative character; and 
musical taste is much more intimately connected with re- 
ligious feeling than is generally supposed. It cherishes on 
the one hand, or destroys on the other, those pious emo- 
tions which public and social worship is designed to call 
into exercise. 



PLEA FOR PSALMODY. 43 

ture and the genius of our holy religion, 
suggest the importance of some acquaint- 
ance with the theory and practice of the 
musical art. We may consider it as a first 
principle, therefore, that in engaging in 
this part of the public worship of God, 
we should so sing as to make melody to 

THE EAR. 

The effect of discordant and unharmo- 
nious sounds, is sensation of uneasiness and 
distress, tending to prevent, if not utterly 
extinguish, rather than aid, a spirit of de- 
votion. Such penance we have no right 
to inflict on those who worship with us, 
Jarring discord neither becomes the holy 
nature of our worship, nor can it fail to 
disturb the devotion of others whilst we 
derive no benefit from it ourselves. It is 
a painful concession, but perhaps as just 
at the present day, as at the time when 



44 PLEA FOR PSALMODY. 

Dr. Watts first uttered it, that " Of all 
our religious solemnities, psalmody is the 
most unhappily managed. The very ac- 
tion which should elevate us to the most 
divine and delightful sensations, doth not 
only flatten our devotions, but too often 
touches all the springs of uneasiness within 
us."* 

Keeping in view, therefore, the end of 
music in social worship — the elevation of 
the feelings and increase of a spirit of true 
devotion, music must be cultivated. As it 
is proper and necessary that the minister of 

* " Often and often have we had occasion to regret our 
unfortunate sensibility of ear, (though by no means exces- 
sive or fastidious,) when chained by propriety to our seat 
in the house of prayer, during the vociferations of a 
graceless band. Often has the (indignant) exclamation of 
good old John Ryland, of Northampton, on one occasion* 
occurred to us, ' Do ye call that singing ? if the angels in 
heaven were to hear r ye, they would come down and 
wring your necks off' "—Eclectic Review. 



PLEA FOR PSALMODY. 45 

the gospel should cultivate the art of elo- 
cution, that in public speaking he may be 
the better qualified to enforce the truth 
and move the heart; so should they who 
sing the praises of God attend to the im- 
provement of themselves in the depart- 
ment of sacred music, if they would either 
awaken devotional feelings in themselves, 
or aid in the devotions of God's people- 
Music should be cultivated for the pur- 
pose of religious worship, and from a 
sense of religious duty. 



46 PLEA FOR PSALMODY, 



CHAPTER II. 

THE VOICE MUST BE CULTIVATED. 

u It is one thing to give an impulse to breath alone ; 
another thing to vocalize that breath."— Holder. 

That much depends on the natural voice 
is true. A good voice, however, and skill 
in its management, is not altogether a na- 
tural gift. It is said by those who are 
skilled in the science of music, that whilst 
"the organs of some are undoubtedly- 
much more favourably constructed for the 
production of agreeable tones, than those 
of others; the very best natural voice 
€i needs to be, and may be greatly improv- 
ed by cultivation ;" and that " there are 
few voices naturally so bad as not to be 



PLEA FOR PSALMODY. 47 

rendered, at least, tolerable, by a proper 
attention to them." We will not say with 
nature's great poet, that 

"The man that hath no music in himself, 

Or is not moved with concord of sweet sounds, 

Is fit for treason ;** 

but we can hardly doubt that all persons 
endowed with the gift of speech, may so 
qualify themselves as to engage in this 
holy duty with satisfaction and benefit; 
whilst many who are now totally negligent 
of the duty, might not only find great be- 
nefit and comfort in its performance, but 
might also greatly encourage others and 
assist in this delightful part of worship. 

The reason why all are not singers, is 
doubtless found either in the fact that the 
proper opportunity of learning has not 
been enjoyed; or in this, that the duty 
was neglected in the morning of life. Often, 



48 PLEA FOR PSALMODY. 

those who attempt to sing, and do not at 
once manifest a musical voice, are dis- 
couraged by the officious ignorance of those 
that assure them that they cannot learn. 
They cannot at once modulate the voice so 
as to strike with precision every note in 
the octave, and therefore it is taken for 
granted that they are incapacitated by 
nature for praising God in sacred psalmody, 
at least upon earth ; and the sage decision 
is taken for truth, and no further attempt 
is made. This is a very common error, 
and a lamentable evil. Where the vocal 
organs exist in perfection, evidenced by 
proper compass, variety, and inflection of 
voice in speaking, there is no physical ina- 
bility to learn to sing. Instruction and 
practice only are necessary to enable the 
individual to assume his proper rank among 
those who enjoy the high honour of wor- 
shipping the Most High in holy song, 



PLEA FOR PSALMODY 49 

The leader in these devotions, it is con- 
ceded, needs peculiar and pre-eminent qua- 
lifications ; and so the several members of 
the choir as assistant leaders, need to be 
well prepared for their place: but it 
should also be borne in mind that since all 
are endowed with the organs requisite, it 
is the duty of all to sing the Lord's praise; 
and that since we cannot fulfil this duty 
by delegating it to others, every individual 
ought to be so far prepared for this part 
of devotional service, that entering into the 
spirit of it, he may enjoy the privilege, 
and as occasion permits, follow those whose 
province it is to lead, joining in the praises 
of a whole people with decency and pro- 
priety. 



50 PLEA FOR PSALMODY. 



CHAPTER III. 

THE EAR MUST BE IMPROVED. 

* As it is with the voice, so it is with the ear : its 
very best natural condition is imperfect, and needs cul- 
tivation." — Mason, 

What is ordinarily called a correct musi- 
cal ear, and on which correct intonation, 
or an ability to sing in tune, # is princi- 
pally dependant, is no more, in all cases, a 
natural gift, than is a good voice. It h#s 
been well remarked, "the most which na- 

* " By intonation is meant the faculty of forming the voice 
to the notes of the scale with clearness and precision. — 
When a person's intonation is correct, he is said to sing in 
tune ; when false that is, too sharp or too flat, he is said to 
sing out of tune " — Turner. 



PLEA FOR PSALMODY. 51 

ture ordinarily does, is to give the capacity 
to learn." Indeed, both the ear and voice 
are always in a measure imperfect, need- 
ing cultivation, in some instances in a 
greater, and in some a lesser degree. A 
correct ear, and a competent voice, are 
acquired by practice.* By application and 
perseverance, many who, at first, were 
scarcely able to appreciate musical sounds, 

* " The truth of the above position stands upon the clear 
evidence of facts. Experiments have generally been per- 
fectly conclusive and satisfactory. Among the Germans 
and Moravians, all without exception are taught to sing ; 
the same is true of the Indians of every tribe, and the peo- 
ple of colour every where ; and of the children of our in- 
fant schools. Having visited many infant schools in differ- 
ent parts of the country, we have never yet found a child 
who was unable to sing after he had been in the school a 
proper length of time. We would say, then, let every 
person, young and old, be encouraged to learn to sing ; his 
duty will soon become his delight, and the languid fire of 
devotion will be lighted up to a flame by the music of the 
skies." — Christian Spectator. 



52 PLEA FOR PSALMODY. 

or to sing with accuracy even the natural 
scale of music by the aid of an instructor, 
have at length arrived at very commend- 
able perfection in the science and its per- 
formance. It would be very difficult to 
find a person in the possession of the na- 
tural senses, who has not a general fond- 
ness for musical sounds : all who have this 
fondness — all who are capable of receiv- 
ing pleasure from musical combinations, 
may, doubtless, improve the talent that is 
in them, and learn to worship God in songs 
of praise.* 

* Sacred music ought to be considered a part of the re- 
ligious education of Children. It has been well said by 
a master of the musical art, that " if no more attention 
were bestowed upon the art of reading, than upon the 
art of music, good readers would be as scarce as good 
singers." Even where attention is paid to music, it is in 
almost all cases to secular music exclusively ; the " parlour 
must be furnished with a piano, and the family must have 
the services of a teacher — the sonata, the song, the march, 



PLEA FOR PSALMODY. 53 

the waltz, must be made familiar, even in Christian fa- 
milies : but the music of the Church is left to take care 
of itself, or committed to unskilful hands." — See Mason's 
Address. 



d2 



54 PLEA FOR PSALMODY. 



CHAPTER IV. 

THE SINGING SHOULD BE CONGREGATIONAL. 

" From the first and apostolic age, singing was al- 
ways a part of divine service, in which the whole body 
of the Church joined together." — Bingham, 

The singing of the primitive Church was 
evidently Congregational. Unlike that 
of the theatre, which is merely an exhibi- 
tion, or thrown in to give variety to the 
performances and relieve the mind from 
too constant attention to the subject — the 
music of the Church, instead of being de- 
signed as an interlude to religious worship 
— a recreation from the tediousness of an 
hour's devotion, was a solemn act of public 
praise offered by the congregation assem- 



PLEA FOR PSALMODY. 55 

bled. Sometimes, it is said, indeed, that 
" a single performer sung in solo" whilst 
at other times, " the whole congregation 
united in full chorus ;" and that " some- 
times the congregation were divided into 
separate choirs, singing in alternate succes- 
sion, whilst at other times, a single person 
commencing the verse in solo, the full 
choir closed in chorus." But, notwithstand- 
ing these variations, the primitive singing, 
as we have said, was by the whole con- 
gregation. And so it should be now. — 
There should, indeed, be a choir well in- 
structed in the musical art, and of supe- 
rior qualifications for leading in religious 
praise, in every congregation; and this 
choir should be directed by a competent 
leader: and unless the music be led by 
such a choir, and the direction of the per- 
formance be submitted to such a leader, 
the best effects of music cannot be pro- 



56 PLEA FOR PSALMODY* 

duced : but the whole congregation should 
join. And all should be prepared to join 
not only without offence, but with good 
effect, if possible — assisting in the devotions 
of others, and enkindling in devotion their 
own souls. 

This, a congregation surely may do, 
without either greatly increasing the quan- 
tity of sound, or preventing the appro- 
priate direction of the music by the choir. 
Great loudness of voice cannot be consi- 
dered indispensable either to true devotion, 
or to good music.* Indeed, there will be 

* " Loudness, produced by an overstrained exertion of the 
organs of the voice, is noise, not music. The overstraining 
of the voice, or even keeping it up constantly to its full 
stretch, is a decided mark of ignorance and vulgarity. — 
Loudness requires mere physical or brute power, but 
sweetness and mellowness, combined with as much power 
as nature will admit of, require taste and discernment, 
and can only be acquired by a close attention to the rules 
of art." — Turner's Vocal Guide. 



PLEA FOR PSALMODY. 57 

very many instances in a congregation, 
where, in the present state of musical im- 
provement, caution must be used by indi- 
viduals lest their voice be conspicuous, and 
where it is greatly proper and expedient 
that it be scarcely audible; and, in all 
cases, the congregation should observe that 
softness which a proper regard to the edifi- 
cation and comfort of each other demands. 
Nothing can be more improper, or ruinous 
to good music, than the falling upon the 
parts, by individuals promiscuously, with 
undue elevation of voice, in different parts 
of the congregation. Even among the 
choir, there should be no emulation of 
loudness of voice, although the music of 
the choir should predominate and lead the 
devotions of all. 

There are almost always in a choir some 
individuals who, conscious of their supe- 



58 PLEA FOR PSALMODY. 

rior qualifications, or urged by a mistaken 
estimate of their abilities, offend against 
good taste by an undue elevation of the 
voice. " Persons who sing together, in 
parts, should take special care that their 
voices be so balanced and adjusted, that no 
one voice obtrude itself above its fellows; 
but that the whole be so blended and com- 
bined, like the tone of a full organ, as to 
produce one rich harmonious sound." It 
has been suggested by a Professor of the 
art, that "if every performer would make 
a point of listening to the voices of his 
neighbours as well as to his own, — it would 
materially assist in the attainment of this 
important object." 

The importance of this last suggestion — 
that of harmony in congregational sing- 
ing — is a subject which cannot be too deeply 
impressed upon the mind of the perform- 



PLEA FOR PSALMODY. 59 

er. As melody consists in a succession of 
single musical sounds, so harmony is a com- 
bination of those sounds according to the 
rules of composition. What may be me- 
lody in a single voice alone, may be most 
unharmonious where several voices are 
united. In congregational singing, musi- 
cal concord is indispensable. The harmo- 
ny should be perfect; like 

" sound 
Symphonious, of ten thousand harps that tune 
Angelic harmonies." 



60 PLEA FOR PSALMODY. 



CHAPTER V. 



THE SENTIMENT. 



" How many tears have I shed when I heard hymns 
and canticles sung in the Church to thy praise, O my 
God ! While the sound thereof struck my ears, thy 
truth entered my heart, it drew tears from my eyes, 
and made me find comfort and delight in those very 
tears." — St. Jlugustine, 

It need hardly be remarked here, that the 
subject matter, or sentiment of our music, 
should be appropriate to the solemn duty 
and occasion and place. As suited to this 
duty, the Psalms of David and other ap- 
propriate portions of the Holy Scriptures, 
should have precedence. Besides their 
incomparable fitness to express proper 
thoughts, feelings and desires, the fact that 



PLEA FOR PSALMODY. 61 

they were indited under the special di- 
rection of infinite wisdom and holiness, and 
have heen employed in the Church in 
every age, should greatly influence our 
choice. 

"Methircks it is a great comfort to us," 
says the excellent Matthew Henry, " when 
we are singing David's psalms, that we are 
offering the same praises to God, that 
were offered him in the days of David and 
the other godly kings of Judah. So rich, 
so well made are these divine poems, that 
they can never be exhausted, never worn 
threadbare." And says the learned Bishop 
Home, " In the language of this divine 
book, the prayers and praises of the 
Church have been offered up to the throne 
of grace, from age to age."* Thus " one 

* Our Saviour pronounced, on the cross, the beginning of 
the 22d Psalm, " My God, my God, why hast thou forsak- 
E 



62 PLEA FOR PSALMODY. 

generation" has praised the " works" of 
God "to another," and declared his "mighty 
acts."* 

A practice has in some instances prevail- 
ed of incorporating with the solemn worship 
of God, in the place of praise to God, 
hymns or songs in which there is scarcely 
any reference to Deity whatever, and 
which, if they do not directly inculcate 
error, are destitute of evangelical sen- 
timent; and in some instances, these are 
a mere medley of fulsome praise ad- 
en me ?" and expired with a part of the 31st Psalm in his 
mouth — " Into thy hands I commend my spirit." Thus he r 
who had not the Spirit by measure, in whom were hid all 
the treasures of wisdom and knowledge, and w 7 ho spake 
as never man spake, yet chose to conclude his life, to so- 
lace himself in his greatest agony, and at last to breathe 
out his soul, in the psalmist's form of words, rather than 
his own. No tongue of man or angel, as Dr. Hammond 
justly observes, can convey a higher idea of any book, and 
of their felicity who use it aright." — Bp. Home. 

* Psalm cxlv. 4. 



PLEA FOR PSALMODY. 63 

dressed to man. However proper it may 
be to celebrate the virtues or heroic 
deeds of distinguished men, it cannot be 
proper, we think, to substitute the praise 
of mortals for the praise that is due to 
God, in his sanctuary ; nor can compo- 
sitions which have nothing in them of the 
life and soul of the gospel, but are desti- 
tute of any sympathy either with the doc- 
trines, duties, or graces of Christianity as 
if designed for the special accommodation 
of the skeptic, be considered the most suit- 
able for the use of a congregation of Chris- 
tian worshippers. 

There are other weighty objections, 
however, which ought to be considered in 
reference to matter sometimes employed 
in sacred psalmody ; and these lie against 
the poetry. Whilst it is true that poetry 
alone will not, of course, constitute good 
and suitable hymns for the use of worship- 



64 PLEA FOR PSALMODY. 

ping assemblies, it is equally true that 
hymns are not adapted to the end of pub- 
lic psalmody unless they are capable of 
being combined with musical expression. 
Lyric poetry — or poetry which is to be 
sung, should be the simple language of the 
heart; and especially if designed for the 
sanctuary, should be dignified both by the 
sentiment and symbols employed* and every 
way calculated to elevate and purify the 
feelings; while at the same time it is suited 
by the aid of music to awaken, and ex- 
press, and quicken to a holy ardour the 
emotions of the soul. For this purpose, 
its structure must be such as to render its 
adaptation to musical movement easy, na- 
tural and impressive. Some of the lyric 
poetry, so called, of the present day, is of 
such rhythm as io set all attempts at mu- 
sical accentuation and expression at de- 
fiance; whilst much is either so argumen- 



PLEA FOR PSALMODY. 65 

tative, didactic, or hortatory, that it cannot 
answer the purpose for which it was in- 
tended. With " the lyric garb," it is des- 
titute of " the lyric character and spirit."* 
In the use of such matter, either the har- 
mony or the sense must ordinarily be sa- 
crificed — often, nay, generally, both are 
necessarily destroyed in the performance. 

In a poem, designed only to be read, an 

* " Music addresses itself wholly to the feelings ; but 
many of the hymns in common use are addressed almost 
exclusively to the understanding, and are argumentative, or 
didactic, or narrative in their character. Such hymns, 
perhaps, are not as unfit for musical expression as a de- 
monstration of Euclid, or Edwards on the Freedom of the 
Will, or Hume's History of England, but it is not unfre- 
quently the case that by an injudicious selection of this 
kind, the good effect of singing is wholly lost. Probably 
one third or even more of the hymns in common use are 
unfit for musical purposes ; and perhaps in no other way 
can ministers of the gospel do more to advance the cause 
of Church music, than by an attention to this subject."— 
L. Mason. 

E2 



66 PLEA FOR PSALMODY. 

irregular accent, parentheses, complicated 
expressions, forced inversions of thought, 
and the like, may be unobjectionable, since 
a varied intonation may render all per- 
fectly intelligible ; but not so in a hymn to 
be sung : the language must be direct and 
simple — the sentiment plain to be perceiv- 
ed — and the construction " such that the 
important words and accented syllables 
may fall upon the accented notes of the 
tune. What action is to the drama, that, 
in a great measure, is music to the hymn 
or song ; and a peculiar adaptation is as es* 
sential in the one case as the other-"* 

The sentiment or language of our de* 
votional songs, is an object of great im^ 
portance viewed in another light. Sacred 
psalmody, whilst it elevates the soul to 

* See Review of Church Psalmody, in Christian Spec* 
tator, 1831. 



PLEA FOR PSALMODY. 67 

God and is to the pious heart a source of 
the most exalted and refined pleasure, is 
also the vehicle of much instruction. He 
who said that he could rule a nation, if he 
might direct the composition of its popular 
ballads, was not a novice in the knowledge 
of human nature. The sentiments which 
we are accustomed to sing with pleasure, 
will soon become our own. The leaders 
and abettors of divisions and schism in the 
Church, have understood this, and acted 
upon it — the spread of new doctrines hav- 
ing been generally aided by the introduc- 
tion of a new collection of psalms and 
hymns. It ought, therefore, to be a mat- 
ter of great moment to adhere as nearly as 
possible to " the good old ways" of Scrip- 
ture, and not to encourage frequent changes 
in the language of our praise. If we have 
not now fallen on times when it may be 
said to those of the same congregation, 



68 PLEA FOR PSALMODY. 

"How is it, then, brethren? when ye 
come together, every one of you hath a 
psalm, hath a doctrine!" it may be said 
that every denomination of Christians has 
its favourite selections, and that different 
selections often divide the worship of those 
of the same denomination, so that among 
these " one may not worship without the 
pale of his own Church without hearing 
new and strange hymns !" It is not our 
business here to determine how far this 
practice has contributed to promote dif- 
ferences and separations and alienations 
among professing believers, nor to assume 
that no alterations are ever admissible; 
but we may assert that a change of the 
kind should be a subject of grave, solemn, 
prayerful deliberation. 

In addition to the importance of correct 



PLEAFORPSALMODY. 69 

music, and appropriate sentiment, we may 
also mention as qualifications which de- 
mand attention, distinctness of articula- 
tion, with proper accent, and correct em- 
phasis, which we will notice in the next 
chapter.* 

* By articulation is meant such distinctness and accu- 
racy, as gives every syllable and sound with truth and 
perspicuity. Accent is a stress of voice upon some one 
syllable in a word. Emphasis is a peculiar force of enun- 
ciation, by which the more important words in a sentence 
are distinguished above the rest. 



70 PLEA FOR PSALMODY. 



CHAPTER VI. 



EXPRESSION. 



" To sing with good effect, let every singer read 
well, express every vowel, syllable, and word clearly, 
and distinctly place the accent according to the most 
approved method of pronunciation." — Tamsur. 

Nothing connected with the subject of sa- 
cred music in point of propriety, can be 
viewed in reason as unimportant As ne- 
cessary as ttuese qualifications are to the 
public speaker, so important are they to 
the singer. Too much are these proper- 
ties of suitable devotion disregarded, or 
treated as of little moment. The senti- 
ment, it would seem, is hardly considered — 
the words which should be addressed to 



FLEA FOR PSALMODY. 71 

Deity, or uttered to his praise, are often 
suppressed in the throat or shockingly mu- 
tilated between the teeth, and every thing 
is sacrificed to mere musical sound ; as 
though the sound were the great essential, 
and the sentiment nothing — whereas it is 
only as subserving a religious purpose that 
we are authorized to employ music in the 
house of God, at all. 

No religious end can be attained by mere 
sound without sentiment. Even could we 
suppose each individual to have a correct 
and feeling apprehension of the sentiment 
which is stifled in the utterance, the effect 
must be in a great measure lost, and the 
practice can in no wise be considered as 
indicative of a suitable sense of the nature 
of the exercise, or of true reverence for 
God. Surely, no laboured argument is ne- 
cessary to show the very great impropriety 



72 PLEA FOR PSALMODY. 

of this slovenly practice, which has so much 
obtained in many instances. We would 
not thus address an earthly potentate — the 
orator would not thus sacrifice matter i , sa- 
tisfied with having made the sound; for 
even though by some means the sentiment 
which he would express might be perceiv- 
ed by all, his doing so would not be eonsi^ 
dered respectful. Every word should be 
as distinctly uttered in singing the praises 
of God, as every note is correctly sound- 
ed.* And to lose sight of the sentiment*- 

*In his rules for the management of the voice, Turner 
remarks, " The first object will be to obtain a natural tone 
of voice in its purest state. A pure voice is that which 1 
comes forth neat and clean from the chest, passing freely 
through the mouth. To produce this, great care must be 
taken that the mouth be kept moderately open. If it be 
too much closed, the voice will strike against the teeth and 
lips, and be thereby vitiated or enfeebled ; or it will cause 
that peculiar action of the nose, which renders the tone 
nasal." Tf this rule were strictly observed, all that annoy- 



PLEA FOR PSALMODY. 73 

and suppress or illy express the words by 
which alone the sentiment can be uttered, 
can be little better than an insult to Je- 
hovah. It certainly is little better than 
mummery in an unknown tongue, for the 
edification of any who hear.* 

Articulation, however, is not alone im- 
portant — we have said there must be pro- 
per accent and correct emphasis. To 
unite the three properties in one term, we 
would say that an essential to Church-sing- 

ance, which is the frequent practice of some, of humming the 
tune, instead of singing, would not be perpetrated, and one 
great hindrance to suitable expression would be avoided. 

* St. Paul reproves the Corinthians for singing and pray- 
ing in an unknown tongue ; and declares he had rather 
speak five words with his understanding, whereby others 
might be edified, than ten thousand words in an unknown 
tongue, from which they could receive no benefit. Such 
is the m-articulation in singing, of many, that, as respects 
all around them, they speak in an unknown tongue, and 
fall under the same condemnation with the Corinthians. 
F 



74 PLEA FOR PSALMODY. 

ing, is expression. " I will sing with the 
spirit," said the great Apostle to the Gen- 
tiles, " and I will sing with the understand- 
ing also;" meaning by "the spirit," the 
heart — that inward religious sensibility 
which ought ever to accompany the 
melody of the voice to give it force and 
expression, and by " the understanding," 
not only a sense of the solemnity of the 
act, but a due mental appreciation of the 
sentiment. We should doubtless employ in 
aid of this duty the best judgment and skill 
of w T hich we are capable ; and it cannot 
reasonably be expected that He who has 
bestowed the gift of music, and has given 
us understanding, will accept a service 
from those who are capable of worship- 
ping appropriately, which is destitute either 
of the right spirit, or appropriate design 
and attention to correct stvle and manner. 
The psalm may be sung with distinct- 



PLEA FOR PSALMODY. 75 

ness of articulation, and every note in the 
June may be correctly sounded, and yet 
there may be a want of expression, and 
the music may therefore be without effect 
The expression of the voice should be ac- 
commodated to the nature of the senti- 
ment expressed ; and for this purpose the 
sentiment must be understood. With our 
mind fixed on the subject, and with the 
idea or sentiment strongly impressed on 
the imagination as well as the heart, we 
ought so to sing as to give effect to the sen? 
timent uttered. " Should a preacher deli- 
ver his sermon, in an unanimated, mono- 
tonous manner, not varying the movement, 
or quantity, of tone of voice, nor even ob- 
serving the pauses-^-be his sermon ever so 
good, or his pronunciation ever so exact — 
his hearers might sleep, and his labour be 
lost. That performance of psalmody, 
and that only, is entitled to be called good, 



76 PLEA FOR PSALMODY. 

in which the movement, quantity, and tone 
of voice, are well adapted to the general 
subject, and so varied as justly to express 
the different thoughts, sentiments, and pas- 
sions."* 

It is greatly to be feared that music is 
too often conducted even in the Church, 
merely as an amusement, and pursued from 

* This is, it is true, an attainment which requires judg- 
ment, taste, attention and practice. To aid in this part of 
psalmody, some have published editions of psalms and 
hymns marked with symbols indicative of the requisite 
variations of movement, quantity, and tone of voice ; which 
are of essential service and highly approved. As general 
rules accordant with common sense and the dictates of 
nature, all who appreciate the sentiment sung, will ob- 
serve, for instance, in the pathetic, the slow and soft — in the 
beautiful, the quick and soft — in the spirited, the quick and 
loud — in the grand, the slow and loud — whilst other pas - 
sages will be considered as requiring no considerable 
change from the common movement or quantity, but a pe- 
culiar distinctness of utterance, or some distinction in the 
tone or modulation of the voice, expressive whether of 



PLEA FOR PSALMODY. 77 

week to week for mere sensual gratifica- 
tion. Dr. Adam Clarke remarks, too truly, 
* The spirit and the understanding are sel- 
dom united in congregational singing : those 
whose hearts are right with God, have 
generally no skill in music, and those who 
are well skilled in music, have seldom a 
devotional spirit." 

abhorrence, indignation, scorn, or any other sentiment. A 
good judgment and proper attention to the sentiment, espe- 
cially where is the heart of true piety, will generally dic- 
tate the proper expression. Great improvement, however, 
may be made in this department by careful practice, and 
essential aid derived to a choir, or congregation, from the 
above referred to keys of expression. 



p2 



78 PLEA FOR PSALMODY. 



CHAPTER VII. 

THE TUNES MUST BE APPROPRIATE. 

" In assigning particular tunes for the several psalms 
and hymns, regard (must be) had, not merely to the 
different key, but also to the peculiar air and charac- 
ter of each tune, and its appropriate adaptation to the 
psalm or hymn." — Worcester* 

Another particular which claims special 
attention, that we may worship aright in 
this ordinance, is the choice of appropriate 

TUNES. 

They who direct in this matter for a 
whole worshipping assembly, and for so 
important an act of devotion, should feel a 
solemn responsibility, and have sacred re- 
gard to the holy nature of the use to be 



PLEA FOR PSALMODY. 79 

made of the music which they select. — 
Leaders of choirs, in their selections, as 
the choir in their performances, should feel 
that the devotions of the congregation, so 
far as this part of sacred worship is con- 
cerned, depend greatly on the manner in 
which they discharge their duty. They 
should also remember that their perform- 
ances exert an important influence on 
every other part of public worship — quick- 
ening the feelings to greater devotion in 
prayer — preparing the mind to attend 
with greater solemnity and reverence of 
God's holy word — and deepening the im- 
pressions which divine truth may make ; 
or diverting the thought and dissipating 
the feelings which the solemnity of the 
place and occasion requires, and which 
other parts of our holy worship are calcu- 
lated to produce. If the tune selected be 
not appropriate and proper, an error is 



80 PLEA FOR PSALMODY. 

committed at the very beginning which 
must necessarily exert an unfortunate in- 
fluence through the whole performance. 

Neither a fondness for novelty ', nor an 
undue desire for a multiplicity of tunes, 
will best accommodate the circumstances 
of the congregation, who, ordinarily, should 
be permitted to unite both their hearts and 
their voices in the praise. Not that due 
improvement in this matter should be dis- 
couraged ; but frequent and unnecessary 
changes should be avoided. The adoption 
of a few well chosen tunes for permanent 
use, is greatly preferable to a great variety 
.and a frequent change. In proof of this, 
\t $hould be sufficient to reflect how often, 
jn some Churches, the congregation whose 
duty it is "to join as well in the public 
praise as the public prayer," are " debar- 
red from the due performance of this duty," 



PLEA FOR PSALMODY. 81 

by frequent changes or highly scientific 
music; and how generally " when an old 
and well-known tune is sung, one universal 
song of praise breaks from the whole con- 
gregation.'' Besides, " good tunes, to be 
performed with any adequate effect," must 
be " familiar to the performers." Without 
a familiar acquaintance with the tune, ex- 
pression — that very important part of good 
musical performance — will be wanting. 
And it has been well observed by one who 
has done much for the promotion of good 
sacred music, that " good tunes must be 
familiarized by use, before their beauties 
and excellencies will be in any good degree 
perceived and felt. The longer and better 
they are practised, the more will they be 
loved and admired; and when they are 
lightly esteemed, or willingly exchanged 
for others, it must be owing not to a fami- 



62 PLEA FOR PSALM OP Y. 

liar acquaintance with them, but to the 
want of such acquaintance,"* 

Nor, as a general thing, is that kind of 
music sometimes called fuging, best adapt- 
ed to the ends of public worship.! Music 
for the worship of Jehovah, should be sim- 
ple, easy, and solemn. Repetitions should 
be sparingly used in public worship, and 
never without evident propriety. 

It is not contended that there is any 
thing sacred in mere sound, or in any ar- 
rangement of notes, or order of expression 

* Mason. 

t "There are two things which I could never reconcile 
to common sense. One is, singing the same words ten 
times over ; the other, singing different words by different 
persons, at one and the same time ; and this in the most so- 
lemn addresses to God, whether by way of prayer or of 
thanksgiving. This can never be defended by all the mu- 
sicians in Europe, till reason is quite out of date." — Jokty 
JYesleyo 



PLEA FOH PSALMODY. 83 

even of sentiment. But " that there is 
something in certain transitions and modi* 
fixations of sounds, less calculated than 
others to excite seriousness and devotion, 
and therefore not so proper to be used in 
the solemn exercises of divine worship, can- 
not be denied. And that flighty, unserioirs 
airs form the best medium of our commu- 
nion with heaven, and the most suitable in 
which to address our direct and solemn 
homage to the King Eternal, in the temple 
of the living God," none will pretend. A 
lightness and want of solemnity in the 
tune, is very apt to banish seriousness of 
mind, and to beget levity of feeling and 
manners. 

To these things there has not always 
been suitable attention. A better taste 
prevailed in olden times. Queen Eliza- 
beth, who seems to have had correct views 



84 PLEA FOR PSALMODY. 

of appropriate music for solemn worship, 
"in the 49th of her injunctions respecting 
public worship, says, that she ' willeth that 
there be a modest and distinct song used 
in all parts of the Common Prayer in the 
Church, that the same may be under- 
standed as if it were read, without sing- 
i?ig. 9 " To the same purpose is the judi- 
cious Hooker: " In Church music, curio- 
sity and ostentation of art, wanton or 
light or unsuitable harmony, such as only 
pleaseth the ear, and doth not naturally 
serve to the very kind and degree of those 
impressions, which the matter that goeth 
with it, leaveth, or is apt to leave in men's 
minds, doth rather blemish and disgrace 
that we do, than add either beauty or fur- 
therance to it. On the other side, these 
faults prevented, the force and efficacy of 
the thing itself, when it drown eth not ut- 
terly, but fitly suiteth with matter altoge- 



PLEA FOR PSALMODY. 85 

ther sounding the praise of God, is in truth 
most admirable, and doth much edify, if 
not the understanding, because it teacheth 
not, yet surely the affection, because there- 
in it worketh much. They must have 
hearts very dry and tough, from whom the 
melody of the psalms doth not sometime 
draw that wherein a mind religiously af- 
fected delighteth."* A modern writer has 

* " Such also was the opinion of Archbishop Parker, who 
published a metrical version of the Psalms in 1557, and em- 
ployed Tallis to compose eight tunes, which were syllabic 
and for the most part in a minor key, and to which his ver- 
sion might be sung. Indeed the whole character of the mu- 
sic of the Church from the earliest period, seems to have 
been fully accordant with these views. It was designed to 
be congregational, and so plain, simple and grave in its me- 
lody, that all the people might sing as well with the under- 
standing as the spirit. It has been reserved for modern 
days to substitute the changing variety of airs and mea- 
sures in Church music for the plain, yet rich and majestic 
psalmody of the Apostolic age ; and by the translation of 
the lighter airs of the parlour to public worship, to carry 
G 



86 PLEA FOR PSALMODY. 

remarked, " It has been reserved for mo- 
dern days to substitute the changing va- 
riety of airs and measures in Church music 
for the plain, yet rich and majestic psal- 
mody of the Apostolic age." A change, 
however, is being effected : in numerous 
instances where such music predominated 
for a time, worshipping assemblies, of va- 
rious denominations, are returning to a 
more appropriate style, and evincing at the 

one, by the irresistible laws of association, to secular scenes 
and thoughts. These abuses deserve to be scourged from 
the temple, and the syllabic music of other days restored 
to our congregations. Constituted as man is, there is no 
vehicle like sound for lifting the soul upward to the eter- 
nal source of glory and harmony, and viewing ourselves 
as bound to praise God with such powers as he has given 
us, we are equally bound to give him our best and most 
appropriate service. * * We will only add the advice 
of a distinguished prelate of the English Church to his 
sovereign upon the subject of the music of public worship. 
"In my opinion, the song that shall be made thereunto, 
should not be full of notes, but as near as may be for every 



PLEA FOR PSALMODY. 87 

same time a more correct musical taste, and 
a more correct apprehension of the deco- 
rum which becomes the solemn worship of 
the great God. 

Great regard should also be had to 
the appropriate adaptation of the tune 
to the psalm or hymn to be sung. Care 
is necessary in this duty not only in re- 
spect to the proper key, but to the pecu- 

syllable a note, so that it may be sung distinctly and de- 
voutly, as be in the Matins, Even-song, Venite, the Hymns, 
Te Deum, &c, and all the Psalms." — Missionary. 

"The rule laid down for Church music in England, 
nearly a thousand years ago, was ' Simplicem sanctamque 
melodiam, secundum morem ecelesiae, sectentur.' Let them 
observe'a simple and sacred melody, after the manner of the 
Church^ — Spelman. Concil., as quoted by Mason. 

Dr. Adam Clarke, contrasting the music of the primitive 
Church, the practice of Christ's early disciples, with the 
practice prevalent in modern times, remarks, "I rather 
suppose their singing consisted in solemn, well-measured 
recitativo, than in the gingling and often foolish sounds 
which we use when a single monosyllable is shivered into 
thirty-six demi-semi-quavers." 



88 PLEA FOR PSALMODY. 

liarity of the air and character of the 
tune. Even where all light and improper 
tunes are repudiated, the effect of public 
psalmody may be greatly injured by the 
words being sung to an ill-adapted tune.* 

* This is a subject of so much importance that we will 
here insert at length, the remarks on adaptation of one well 
qualified to speak to this point. 

" The subject of adapting music to works in metrical 
psalmody, seems to be in its infancy. The musician has 
done but very little by his compositions to enforce the sen- 
timent of the poet — if we except some few cases of parti- 
cular adaptation. On the one hand, the poet has written 
without reference to musical effect ; and on the other, the 
musician has composed without any attention to rhetorical 
effect. And it is difficult to see how much progress can 
be made in this department while we are obliged to sing so 
many different hymns to the same tune. Time does not per- 
mit us to pursue this subject. The principle of adaptation, 
however, to which we now allude, and the difficulties 
attending it in the present state of Church music, may be 
illustrated by one or two familiar examples. 

" If we attend to the well-known doxology of Dr. Watts, 

1 To God the Father, God the Son/ &c. 



PLEA FOR PSALMODY. 



89 



That plan is a good one which has been 
pursued by some, not only of furnishing in 
connexion with the words rules for musical 
expression, but of referring each psalm 



sung to the tune of Old Hundred, as it very commonly 
and appropriately is in the present state of musical im- 
provement, we shall find that the particles to and the, are 
quite as conspicuous as the principal words of the line. — 
The evil in this case is that the very words, as sung, have 
a tendency to obscure the sentiment. 

Example,— 

JtU 



i 



3QE 



9 



To God the Father, God the Son, 



" Now suppose we employ a different melody— a melody 
adapted to the comparative emphatic force of each word ; 
the advantage will be apparent : 



H 



w^ 



P«*K 



P^f 



To God the Father, God the 
g2 



Sen- 



90 



PLEA FOR PSALMODY. 



and hymn to a proper key and suitable 
tune. Choristers, or leaders, may not in 
all cases be ready at a moment to fix upon 
the tune best suited to express the senti- 
ments of the portion to be sung. But, by 

" Again — Suppose we sing to the excellent old tune of 
Winchester the following lines : 

* Go preach my gospel, saith the Lord, 
Bid the whole earth my grace receive ;' 

we shall find that, from the prolonged notes and inappro- 
priate melody, the significance of the words will be wholly 
lost. 



H 



tf 



Go preach my Gospel, saith the 



~r 



=P 



Lord. 

I 



Bid the whole earth my 



a= 



grace 



re - - ceive. 



PLEA FOR PSALMODY. 



91 



this arrangement the most skilful may often 
be relieved from much embarrassment, and 
those whose judgment and taste is deficient 
may be saved from inflicting on the con- 
gregation inappropriate music* 

" Whereas, if we employ a melody written with reference 
to the sentiment, the music may be made to perform its 
office with effect: 



For. 



Pia. 



Mez. 



s 



Go preach my Gospel, saith the Lord, 



Form to 




z>.Mez. 


i i 




VJ . 9 #p ■ 




i 


i i 


i 1 


A • ^ ' 




i 


H ' 


i 1 


fit) ' II 






^ • m 


d 1 


Kj ' * ! 






1 



Bid the whole earth my grace re — ceive, 

" These examples are by no means striking ; but they are 
sufficiently so to give some idea of the importance of par- 
ticular adaptation." — L. Mason. 

* In respect to the adaptation of the music to the senti- 
ment, perhaps filial veneration and partiality may not un- 
duly influence the judgment, if we say that in the Protes- 
tant Episcopal communion there is much less liability to 



9$ PLEA FOR PSALMODY. 

err than elsewhere : for so great a portion of this service 
of the Church is made up of Scripture to which there is 
a particular adaptation of good music composed expressly 
for the sentiment and very words to be sung, that we are 
furnished with peculiar facilities for well-conducted praise. 
And so great would be the contrast between these portions 
of the liturgy sung in their appropriate music, and psalms 
or hymns sung in the lighter airs of the parlour, or ball- 
room, or theatre, that we may safely assert that where the 
stated services of the Church are enjoyed, that music 
which is greatly objectionable would hardly find a taste so 
perverse as to tolerate it. 



PLEA FOR PSALMODY. 93 



CHAPTER VIII. 

INSTRUMENTAL ACCOMPANIMENT. 

" Why instrumental music should be abolished as a 
legal ceremony, and vocal music, which was as much 
so, should be retained, no good reason can be assign- 
ed." — Bishop Home. 

The advantage of instrumental accom- 
paniment is generally conceded. To in- 
strumental music objections are sometimes 
urged, and conscientious scruples in respect 
to its use are sometimes cherished ; but the 
fact is indisputable that, from the time of 
David at least, psalmody, conducted by the 
aid of various kinds of instruments, has 



94 PLEA FOR PSALMODY. 

found a prominent place in the daily wor- 
ship at the sanctuary, under the Old Tes- 
tament dispensation, and received the ap- 
probation of God. Nor was any instruc- 
tion given at any time that a different 
practice ought to prevail under the New. 
The best masters have considered that tc it 
is impossible in ordinary cases for good vo- 
cal music to exist without the support of 
instruments." On this subject, Mr. Mason 
speaks to the purpose, whose words we 
will quote : 

" In every choir of singers, a judicious 
accompaniment seems to be indispensable 
to complete success. Such an accompani- 
ment guides, sustains, strengthens, and re- 
lieves the vocal parts. It promotes good 
tone and correct intonation, and renders 
vocal music pleasing and effective. But 
the art of accompaniment seems to be as 
little understood and as much abused by 



PLEA FOR PSALMODY. 95 

instrumentalists, as is the art of singing by- 
vocalists. Instead of accompanying the 
singing, instrumental performers often take 
the lead of it. Instead of playing in a 
very soft and simple manner, and in exact 
unison with the voice, they will, for the 
sake of distinction, make as much noise as 
possible, raise their instruments an octave 
above the pitch, and introduce a multitude 
of shakes and flourishes and graces [falsely 
so called] which are wholly out of place, 
and are equally offensive to correct musi- 
cal taste and religious propriety. * # # 
When instruments are employed, they 
should be made in every respect subordi- 
nate to the vocal parts, with which they 
should combine in a harmonious and deli- 
cate manner. 

" The Organ is certainly the most valua- 
ble instrument for accompanying Church 



96 PLEA FOR PSALMODY. 

music* Its fixed intonations, its facilities 
for harmonic combinations, its lofty and so- 
lemn tones, its adaptation to the perform- 

* Other instruments are employed in the public worship 
of God, to advantage. The Flute, as an instrument of 
great softness and sweetness of tone, and perhaps more 
nearly resembling the human voice, than any other instru- 
ment, is an unexceptionable accompaniment. Its power, 
however, is not equal to the task of affording any very 
considerable or sensible assistance in a large choir. The 
Clarionet has compass greater than that of the flute, and 
its tones are full and mellow; but it is an instrument 
which requires great skill in the performer, before it can 
with any safety be introduced in public worship, and even 
then is liable to some serious objections. The Violin, in 
the hands of a skilful performer, has superior qualities. A 
large body of tone may be drawn from it, or it may be soft- 
ened to the lowest piano ; but this instrument requires the 
closest attention and a most correct ear, or its notes will be 
imperfect, and mislead and embarrass. The Violincello 
is greatly useful, and liable to but few objections. The 
Bassoon and Hautboy are better adapted to martial mu- 
sic, than to the Church. The loudness and shrillness of 
their high notes, and the roughness and harshness of the 
low, render them unfit for an accompaniment in a choir. 



PLEA FOR PSALMODY. 97 

anceof soft and loud, and the circumstance 
of its always being in order and ready for 
use, give it a decided advantage over every 
other instrument. The organ has also the 
benefit of strong favourable associations ; 
as it belongs almost exclusively to the 
Church, and is seldom employed in any 
other than sacred music. * * When 
under the hand of a man who understands 
his art, and feels his subject, the organ pos- 
sesses a charm that is irresistible, and at 
the same time subordinate to sentiment. 
It even renders enunciation more distinct, 
and the interest and expression of the sub- 
ject more exalted and refined. * * * 

These instruments are all liable to unhallowed associa- 
tions, and generally require much time and attention to 
keep them in order. The tuning of them in Church, 
which is generally deemed necessary, is often exceedingly 
annoying to those of the congregation who, whilst the con- 
gregation is assembling, would be left to undisturbed se- 
rious reflection. 

H 



98 PLEA FOR PSALMODY. 

But valuable as the organ is, how seldom 
do we find it well managed ! * # An ability 
to play well, is not the only qualification 
needed in an organist. # * He should 
be a pious man, or at least one who has a 
deep sense of the solemnity of public wor- 
ship. He should be a man of quick sen- 
sibility, or he will neither enter into the 
spirit of the words sung, nor of the other 
exercises. He must be a man of good 
judgment, or he will make the most fatal 
mistakes in accompanying such hymns as 
call forth, in different stanzas, emotions of 
a different character. He should under- 
stand the nature of his instrument and the 
object of its introduction into the Church, 
as an accompaniment to the voices — sub- 
servient to vocal effect, or rather designed 
to promote it. * * Were such organists 
employed, there would be fewer complaints 
of loud and unmeaning playing — of long, 



PLEA FOR PSALMODY 99 

flourishing and fanciful interludes, foreign 
to the subject and unfit for the Church."* 

* An Organist " must not drown or overpower the sing- 
era by an unremitted loudness and violent intonations of 
the full organ, but merely conduct and regulate and sus- 
tain the voices in a low and soft accompaniment. * * * 
Simplicity is the greatest excellence he has to aim at ; and 
that end for which he is employed will be best answered, 
when the congregation are least aware of the assistance 
they derive from him." — Bishop Porteus. 



100 PLEA FOR PSALMODY. 



CHAPTER IX. 

THE DEPORTMENT MUST BE REVERENT. 

" Surely — our external posture, and our serious at- 
tention, should indicate the reverence of our hearts, 
when we assemble to worship this glorious God." — 
Br. Scott. 

Need it also be said that the deportment 
should in this duty, as in prayer and every 
act of worship, be decent, solemn and re- 
gular? Not only should no improper, 
light, or trivial gestures be indulged, or 
conversation more than in the time of 
prayer ; and the smile of levity, too irre- 
verent at such a moment, to be contem- 
plated without sensations of horror, be un- 
known; but the posture of the body 



PLEA FOR PSALMODY. 101 

should be reverent — not that of apparent 
sloth or indifference. The attitude which 
the Church generally practices, and in re- 
spect to which uniformity is to be desired, 
it appears to us should be greatly pre- 
ferred. As kneeling or bending forward 
in the posture of supplication, is an ap- 
propriate position in prayer — so rising to 
sing the praises of the Most High seems 
greatly appropriate and worthy of univer- 
sal observance. " In heaven/' says a late 
learned divine,* "prostration is used;" 
"surely," he adds, u on earth less than 
standing cannot be deemed due rever- 
ence."t 

* Dr. Collyer. 

t Turner, in his vocal guide, recommends standing in an 
erect, but easy posture, as a means of keeping the chest 
expanded. 



102 FLEA FOR TSALMODY. 



CHAPTER X. 

THE HEART MUST BE ENGAGED IN THE DUTY. 

" Singing with grace in your hearts unto the Lord." 

St. Paul. 

Here is another requisite, and indeed the 
great essential in acceptable public wor- 
ship, which remains to be considered. 

There may be the utmost attention to 
outward form — to external deportment, and 
yet all our attempts at worship may be no 
better than a sounding brass, or a tinkling 
cymbal. True and acceptable worship 
pre-supposes the heart engaged. It were 
a great and lamentable error, and a very 
gross idea, to suppose the Most High pleased 



PLEA FOR PSALMODY. 103 

with sound without the sincere and humble 
sacrifice of the heart, 

" God is a Spirit just and wise; 

He sees our inmost mind : 
In vain to heaven we raise our cries, 

And leave our soul behind." 

" The Lord taketh pleasure in them that 
fear him, and in them that hope in his 
mercy." David says, "I will praise the 
Lord with my whole heart in the assembly 
of the upright and in the congregation." 

Let the melody of the heart ascend with 
the melody of our voice, and it will make 
music in the ear of God, and our praises 
come up before him with acceptance. It 
is greatly to be feared that this delightful 
harmony of heart and voice is often want- 
ing, even where a 1 appears right to the 
eye and ear. When piety is enjoying the 
most elevated devotion, and is ready to say, 



104 PLEA FOR PSALMODY. 

of the praises of those around, who appear 
to worship with her, 

* This " harmony divine 
So smooths her charming tones, that God's own ear 
Listens delighted," * 

even then there may be in the worship of 
many, a lamentable and fatal deficiency. 
Without the melody of the heart, our wor- 
ship is vain. 

Tranquillizing the passions, elevating the 
affections to a devotional frame, and pre* 
paring the heart through the operations of 
divine grace for the enjoyment and more 
ready perception of moral beauty, music is 
well calculated as a means to effect a most 
desirable and gracious end; and happy 
they, who, in their worship, entering into 
the spirit of the duty, find the means sub- 
servient, and enjoy the fruition — their 



PLEA FOR PSALMODY. 105 

hearts lifted up to the true source of all 
harmony and glory. 

" My willing soul would stay 
In such a frame as this." 

This indispensable qualification for ac- 
ceptable religious praise should be seriously 
considered, and the consideration should 
lead to serious self-examination and fervent 
prayer. 



106 PLEA FOR PSALMODY. 



CHAPTER XL 

THE DUTY MUST BE PERFORMED DIRECTLY TO GOD. 

" To God, the great, the ever-blest, 

Let songs of honour be address'd." — Watts. 

The duty is not performed aright by mere- 
ly conducting our several parts of worship 
so as to secure the approbation of our fel- 
low-men, but it must be performed as in 
the presence of the all-seeing, every-where 
present, and heart-searching God. 

An unmindfulness of Him in their songs, 
is that which God so pointedly condemns in 
his people of old, by his holy prophets : 



PLEA FOR PSALMODY. 107 

" They regard not the work of the Lord, 
neither consider the operation of his hands;" 
and again, " They chant to the sound of 
the viol, and invent themselves instruments 
of music like David, * * but they are not 
grieved for the affliction of Joseph. * * 
Take thou away from me the noise of thy 
^ongs, for I will not hear the melody of thy 
viols ;" plainly showing that in the use of 
music for our own gratification merely, or 
for sensual ends and purposes, there is no- 
thing truly pleasing to God, even although 
the sentiment we utter may be unobjec- 
tionable, nay, truly evangelical. 

Music may not indeed be confined to the 
public worship of God, and to the imme- 
diate act of private devotion; but it ought, 
like all other enjoyments, to be improved 
with reference to the glory of God — either 
with ultimate reference to his glory, as in 



108 PLEA FOR PSALMODY. 

private or in the social circle to unbend and 
relax the mind from corroding cares — to 
refreshen and enliven the animal spirits, 
and to raise the mind from dejection, or to 
relieve it from the effects of too great in- 
tensity of mental exercise, and to fit it the 
better for the various duties of life ; or 
with immediate reference to his glory, in 
the noblest use of music, to enkindle a spirit 
of devotion in the soul, to worship and mag- 
nify the Lord God of our salvation. And 
it may be considered one of the melancholy 
evidences of the depravation of our race, 
that there is so general a propensity in 
mankind to pervert and abuse the musical 
art to a wrong end. The highest end 
which many propose in the melody of 
sounds, is the excitement of carnal mirth, 
and a keener relish to scenes of conviviali- 
ty, if not of riot and intoxication ! A merry 
song over their wine, or to beguile the in- 



PLEA FOR PSALMODY. 109 

sipidity of misspent time, and to banish se- 
rious thought, is the chief use which they 
ever make of this noble gift of God ! 



110 PLEA FOR PSALMODY. 



CHAPTER XII. 

/THE HOLY SPIRIT'S INFLUENCE MUST BE SOUGHT. 

" Let thy kind Spirit in my heart 

For ever dwell, O God of love, 

And light and heavenly peace impart — 

Sweet earnests of the joys above." — Steele. 

Were we to embody in a word the whole 
exhortation which, as a minister of the Lord 
Jesus, we would deliver on this important 
part of the subject, it should be in the lan- 
guage of the Apostle's charge, "Be ye 

TILLED WITH THE SPIRIT." 

The instructions of the Holy Spirit can- 
not be too highly valued, nor the conviction 
that "God is greatly to be feared in the as- 



PLEA FOR PSALMODY. Ill 

sembly of his saints, and to be had in re- 
verence of all them that are about him," 
too deeply impressed on every mind and 
heart. 

To be " filled with the Spirit" is to know 
the genuine effects of the Spirit's sanctify- 
ing operations upon the soul, yielding "the 
fruits of the Spirit," which are " love, joy, 
peace, long-suffering, gentleness, goodness, 
faith, meekness, temperance." Where these 
virtues are found in heavenly concert, God 
is well pleased. Where there is neither 
discord in the heart, nor on the lips, there 
is melody indeed. It is the prelude to the 
exercise of angels— to the transports of 
heaven. 

Where the influences of the Holy Ghost 
are truly felt, and 

" Tune our lips to sing God's praise " 



112 TLEA FOR PSALMODY. 

there cannot fail to be a meek and quiet 
spirit, which in the sight of God is of great 
price. Differences will never arise amongst 
true worshippers who rightly consider the 
solemnity of the duty, and fully imbibe the 
humble spirit of true devotion, either in 
regard to the place they shall occupy, or in 
respect to any supposed superiority of mu- 
sical talent. Where the several members 
of a choir shall stand to praise God, whe- 
ther in this position, or that, will be consi- 
dered a matter of comparative indifference 
so that God may be glorified. Would there 
be a spirit of prayer where there is con- 
tention for the highest and most honourable 
place in view of men, on which to kneel 
before God ? Neither are they in the spirit 
of true worshippers, in singing the praises 
of God, who have not the spirit of little 
children, willing to serve God in any posi- 
tion. The heart-burnings and difficulties 



PLEA FOR PSALMODY. 113 

which have sometimes existed in choirs, all 
cease under the influence of a truly devo- 
tional spirit — that meek and heavenly spi- 
rit which prepares us to join the choir of 
the redeemed and angels above. Could we 
make our voice heard by every choir in our 
land, we would charge and entreat "Let 
not these things ever be once named among 
you." 

Deeply should we feel our dependence 
on the Holy Ghost for that grace which 
enables us to offer the worship which is 
acceptable to God. Acknowledging this de- 
pendance, let us look earnestly to him for 
the necessary and promised assistance. 
Without it, 

" In vain we tune our formal songs=-= 

In vain we strive to rise — 
Hosannahs languish on our tongues, 

And our devotion dies." 

I *r 



114 PLEA FOR PSALMODY. 

It is God alone who has given us a voice 
to praise him ; it is he who enables us to 
modulate it aright ; it is he who gives us 
skill in using it melodiously, and permits us 
the high honour of sounding forth his 
praise; and it is he alone who must give 
us the grace and prepare our hearts to har- 
monize with the spirit of our song. 



PLEA FOR PSALMODY. 115 



PART IV. 



CONCLUSIONS 

" Methinks, when we are singing the praises of God 
in great assemblies, with joyful and fervent spirits, I 
have the liveliest foretaste of heaven upon earth ; and 
I could almost wish that our voices were loud enough 
to reach through all the world, and to heaven itself. 
Nothing comforts me more in my greatest sufferings, 
or seems more fit for me while I wait for death, than 
singing psalms of praise to God ; nor is there any ex- 
ercise in which I had rather end my life." 

Richard Baxter, 

1« It is desirable that this duty be deeply 
impressed on our minds, and fully realized 
as of divine authority, that our obliga- 
tions to its performance may be felt. 



116 PLEA FOR PSALMODY, 

That worship is no better than will-wor- 
ship that does not recognize the authority 
which enjoins it. And if singing the praises 
of God be a divine institution, it ought to be 
diligently and reverently observed. Presi- 
dent Edwards, the younger, has said, "As 
it is the command of God that all should 
sing, so all should make conscience of learn- 
ing to sing — as it is a thing that cannot be 
decently performed at all without learning. 
Those, therefore, where there is no natural 
inability, who neglect to learn to sing, live 
in sin, as they neglect what is necessary in 
order to their attending one of the ordi- 
nances of God's worship." And is this lan- 
guage too severe ? Is not singing as much a 
part of divine worship as prayer, and was it 
not instituted by the same authority, and 
for the same great purpose? Can it then 
be safely neglected ? 

And yet there is no duty of religious life 



PLEA FOR PSALMODY. 117 

in which mankind generally, professing to 
worship God, are more essentially deficient, 
and which they perform with so little con- 
scientiousness and respect for divine autho- 
rity, as singing the praises of the Most 
High ! In how many instances is the duty 
entirely neglected? How often is its pro- 
fessed performance without any suitable 
regard to the things that are the necessary 
constituents of music? And how often, 
when the ear is charmed with the music, 
is the heart untouched with the sentiments, 
and even frozen with unbelief? 

When it should be esteemed our highest 
honour, and privilege, and delight, to 

" Join our cheerful songs 
With angels round the throne," 

how ungrateful and unnatural to treat the 
duty with neglect! How irreverent to 



118 PLEA FOR PSALMODY. 

offer a sacrifice for the acceptable offering 
of which we are neither qualified, nor have 
cared to be, and which, by reason of our 
want of preparation, offends against the 
very first principles of the duty in which 
we vainly assay to engage ! And how pre- 
sumptuous and impious to mock the great 
Jehovah with solemn sounds upon a thought- 
less tongue ! 

Mr, Mason well inquires, " In what esti- 
mation would a congregation be supposed 
to hold the other exercises — prayer, for 
example — if instead of listening with re- 
spectful attention, and endeavouring to lift 
up their hearts unto God, they were to look 
upon it as a mere exhibition of elocution ; 
or improve the opportunity to look around 
and see who is and who is not at Church; 
or make it a signal for restlessness and 
noise ? But how frequently," he remarks, 



PLEA FOR PSALMODY. 119 

" is it the case that although the most pro- 
found silence and attention prevail during 
all the other parts of service, even while 
the minister is ? % eading the hymn or psalm, 
the subject is forgotten the moment the 
singing commences ! * * The mind which . 
was attentive during the reading of the 
words, is withdrawn from the subject the 
moment that exercise commences whose 
express design it is, by giving additional 
force to what has been read, to deepen the 
impression already made, and quicken emo 
tions already enkindled." This, which is a 
picture drawn to the life of a large portion 
of the congregations among some denomi- 
nations, is more or less correct in its appli- 
cation to nearly all worshipping assem- 
blies. 

Nor can the professed worship of God 
with sound, without the heart, be viewed 



120 PLEA FOR PSALMODY. 

in a more favourable light. Music, without 
the sacrifice of a broken and contrite spi- 
rit, can find no acceptance with God, the 
great Master of assemblies, more than the 
music of those in Israel, whom the Lord, 
by his prophets, reproved. And they who, 
regardless of the nature of the duty, so 
sing as to disturb the devotions of others, 
whilst they offer unto the Lord "the maim- 
ed, the halt, and the blind," cannot surely 
be considered as free from the condemna- 
tion. 

2. With what seriousness, then, and 
with what solemnity should we engage in 
this duty! How conscientiously, in the 
fear of the Lord, with an eye to his glory, 
and from a fixed principle of obedience to 
his authority, should the duty be discharg- 
ed! 

" Who hath required this at your hands V rf 



PLEA FOR PSALMODY. 121 

is an inquiry which might well fill with 
confusion and cover with shame all that en- 
gage in this part of sacred devotion with- 
out endeavouring to attain and to cherish 
the views which the Holy Scriptures incul- 
cate, and which the Spirit of God inspires. 
Professing to sing the praises of God, they 
incur the guilt of drawing nigh unto God 
with the mouth and honouring him with 
the lips while the heart is far from him. 
With little conscientiousness, with little 
thought of the divine authority, and with 
no true desire to please and honour God, 
their whole soul is alive, it may be, to the 
music, and the ear of others is charmed : 
but the heart is untouched by the spirit of 
true devotion — alike unmoved by, and re- 
gardless of the sentiment uttered. Unbe- 
lief itself is not more cold than the heart 
often as to all religious affection, when the 
ear is ravished, and the mind moved by sen- 



122 PLEA FOR FSALMODY. 

sations of the most exquisite delight ! In 
the very exercise which nearest resembles 
the worship of heaven, how inexcusable 
unmindfulness of God, or coldness and dull 
formality ! Dr. Adam Clarke has said, "A 
good singer among the people of God, who 
has not the life of God in his soul, is ' vox, 
et praeterea nihil:' " but it is more than 
this; for "whatsoever is not of faith, is 
sin." 

Singing the praises of God, our souls 
should be filled with holy reverend awe — 
our hearts warmed with love of his infi- 
nitely glorious perfections — every affection 
harmonized with the expression of our lips. 
Then, truly considering the nature of the 
duty, and that we address our homage to 
the every-where present and omniscient 
God, and cherishing those feelings of rever- 
ence and filial awe which become us, our 



PLEA FOR PSALMODY. 123 

deportment will be dictated by the reve- 
rent and affectionate feelings of the heart, 
and correspond with our professed devotion. 
Thus will our worship be accepted, God 
honoured, and our souls saved. 

3. Finally, let us not be inattentive to 
this duty, or insensible of our obligations to 
worship God in sincerity and in truth. 

Join in the praise of God in his public 
worship. Keeping the Majesty of heaven 
in view, and deeply impressed with a sense 
of his infinite greatness and goodness, and 
of our obligations, unite with the music of 
the voice, the melody of the heart. Then, 
"making melody in our hearts unto the 
Lord," we may hope for the approbation 
of conscience, and the high approval of 
our God. " Whoso offereth praise, glo- 
rifieth me :" — and what are the plaudits 



124 PLEA FOR PSALMODY, 

of dying men, to the approbation of our 
final Judge ? 

As often as it is said, in the expressive 
language of our service, " O Lord, open 
thou our lips," let the full and fixed deter- 
mination of every heart be, "And our 
mouth shall show forth thy praise." And 
as often as the exhortation falls upon the 
ear, " Praise ye the Lord," rejoicing in the 
grateful and heavenly employment, let the 
whole heart respond, " The Lord's name 
be praised." Say, "Awake up my glory; 
awake, psaltery and harp." " God, my 
heart is fixed; I will sing and give praise 
even with my glory" — " While I live will I 
praise the Lord ; I will sing praises unto 
my God while I have any being;" — "every 
day will I bless thee, and I will praise thy 
name for ever and ever." — " Praise ye the 
Lord: praise the Lord, my soul." 



Blessed be Jehovah God, 
God of Israel, alone performing wonders ; 

And blessed be his name of glory, 
And let his glory fill the whole earth — 
Amen and amen. 
[Bishop Horsley's translation nf Psalms, 



K 2 



PSALM 62. 

From the Slst Psalm of David. 

1. To God, our never- failing strength , 
With loud applauses sing : 

And jointly make a cheerful noise 
To Jacob's awful King. 

2. Compose a hymn of praise, and touch 
Your instruments of joy ; 

Let psalteries and tuneful harps 
Your grateful skill employ. 

3. Let trumpets at the festival 
Their joyful voices raise, 

To celebrate th' appointed time, 
The solemn day of praise. 

4. For this a statute was of old, 
Which Jacob's God decreed, 

To be with pious care observ'd 
By Israel's chosen seed. 



APPENDIX. 

After what has been said in the foregoing 
'Plea for Sacred Music,' it may not be 
amiss to add a brief notice of the history 
of music in the world to the present time. 

It has already been suggested that mu- 
sic is very ancient. Although w r e may not 
be able to define the time and manner of 
its first introduction by proof positive, yet 
it is clearly evident that from the time 
w 7 hen the first mention of it is made, the 
Holy Scriptures, both of the Old and New 
Testaments, and also ancient profane his- 
tory, with the writings of later times, have 
borne uninterrupted succession of testimo- 
ny to its use, and have united in commend- 



128 APPENDIX. 

ing its influence in soothing the evil pas- 
sions, animating the affections, refining the 
senses, or contributing to devotion. 

It is clear that among the Hebrews, mu- 
sic has been in general use, from the time 
of Moses, In their religious services, in 
their public and private rejoicings, at their 
feasts, and in their mournings, it has ever 
found a distinguished place. In these per- 
formances both sexes have borne a part, 
as have also legislators and prophets, 
judges and kings. Of the precise nature 
of the Hebrew music, we may not speak 
with confidence, since it is admitted on all 
hands that, at the most, all modern theories 
concerning it, are little better than conjec- 
ture. From its effects, its magnificence, its 
majesty, and the lofty and beautiful senti- 
ment of their songs, however, we naturally 
infer the great excellence of the music. 



APPENDIX. 129 

Ancient heathen testimony shows the 
practice and influence of music in the ear- 
ly ages both of Greece and Rome. Among 
the ancient Greeks, music and poetry, for 
a long time, constituted an important part 
of national education, and were the grand 
medium of instruction in policy, morality, 
and virtue. Their youth were made fami- 
liar with the lyre and song, as an appro- 
priate recreation and important discipline 
tending to all that is amiable, ennobling, 
and praiseworthy in mind or manners. The 
statesman, the w r arrior, the man of general 
science, and the bard, were alike interested 
in the exercise, while the priest regarded 
music as an important part of the religious 
service in their heathen rites. And al- 
though, among the ancient Romans, music 
seems to have been less understood and re- 
fined than even in the fabulous ages of 
Greece, yet as the arts and sciences ad- 



130 



APPENDIX. 



vanced among them, their melody and songs 
improved. 

That the immemorial practice of the 
Hebrew church, in chanting psalms and 
hymns in their sacred worship, was conti- 
nued by our Lord and his disciples, is also 
evident. It is not indeed improbable that 
some parts of the music of the primitive 
church may have been in some instances, 
as has been conjectured by some, " an ad- 
mixture of the music of the heathen tem- 
ples," since there were converts from these ; 
but it is more than probable that it was 
chiefly formed on the model of that used by 
the Jewish church. 

Coming down to the 4th century, we find 
it ordained by the Council of Laodicea, 
that none shall sing in the churches but the 
canons or singing-men ; others having evi- 



APPENDIX. 131 

dently been accustomed afore to join in 
this part of the service, and probably in a 
very rude and inartificial manner, which 
circumstance may have led to the decree of 
exclusion. In consequence of this decree, 
the practice and cultivation of music be- 
came henceforward the exclusive and ap- 
propriate business of ecclesiastics; and the 
musical science for a long time was under 
the almost entire direction of priests and 
monks. Among the distinguished promoters 
of sacred music at this age, were those 
celebrated fathers of the church, St. Basil, 
St. Ambrose, St. Jerome, and St. Chrysos- 
tom. At this period, the "Ambrosian 
chant," or antiphonal mode of singing, that 
is of verses alternately by the choir, was 
introduced and extensively adopted in the 
church. 

In the 6th century, we find among the 



132 APPENDIX. 

most distinguished patrons and efficient 
promoters of the science, the name of one 
of the Bishops of Rome, Gregory I. In- 
venting the simple notation by the seven 
first letters of the Roman alphabet, he also 
"increased the number of tones from four 
(the tetrachord,) to eight, (the octave,) and 
also introduced the " Gregorian chant," or 
plain song, in which the choir and people 
sing in union. A school for sacred music 
was established and richly endowed by this 
profound master of the musical science, 
and was for some time directed by himself 
in person. It continued and flourished for 
three hundred years after his death. At 
this period Rome was for a long time the 
" school of the prophets," for perfection in 
the art of music, and many of the clergy 
repaired thither from distant countries for 
improvement in this branch of science. At 
the close of this century a school for musi- 



APPENDIX. 133 

cal instruction was established at Canter- 
bury by St. Austin. 

Near the close of the 9th century, Al- 
fred the Great, himself excelling in music, 
founded a professorship of music at Oxford. 
Great encouragement was given to im- 
provement in the art, the practice was re- 
commended to general notice, music was 
considered an important part of polite edu- 
cation, and the science was greatly ad- 
vanced. 

At the dawn of the Reformation, the 
effect of music, in connexion with the of- 
fices of religion, was grand and imposing; 
and it became a question of moment with 
the Reformers, in what way the art might 
be rendered most important, as an aux- 
iliary in effecting their purposes. On this 
point they differed. Luther had imbibed 



134 APPENDIX. 

and cherished from his very childhood, a 
fondness and taste for music ; and he held 
it in very high esteem for its capability of 
moral influence upon the human heart and 
life. It might, he believed, "make the 
people gentler, milder, more moral, and 
wiser." He was led, therefore, to pursue 
a very different course in respect to church 
music, from that of his coadjutor, the great 
Genevan Reformer. Calvin showed his 
hostility to the pretensions of Rome, by an 
utter and complete rejection of all the 
usages of her church ; and for more than a 
centurv after the Reformation, " not a mu- 
sical instrument was suffered within the 
walls of Geneva. Music, except his own 
plain metrical psalmody, was proscribed 
wherever the doctrines of Calvin were re- 
ceived." Luther was restrained from this 
proscription, by at least his own skill and 
proficiency in the musical art. Although, 



APPENDIX. 135 

bold and fearless in the great work of re- 
form, he attacked the errors of doctrine in 
the Romish Church without compromise, 
yet he says that he " never meant to abo- 
lish all external forms of worship, but to 
purge that which had hitherto been used, 
and to show what was the true christian 
way." Anxious to avail himself of the 
melody then in use, for carrying forward 
his purposes, he directed and caused a re- 
ligious service in his own language to be 
adapted to the ancient and noble music al- 
ready in use, proposing also a variety of 
newly versified psalms and hymns, together 
with additional music. Some of these 
tunes, supposed to be composed by himself, 
are among the best in use at the present 
day. Zuingle joined with Luther in his 
views of sacred music, of which he was 
extravagantly fond, and which he never 
ceased to cultivate while he lived. 



136 APPENDIX. 

In England the desire was that of Lu- 
ther in Germany, to purify religion of all 
that was corrupt, carefully retaining all 
that was good. The appropriate music of 
the church, was, therefore, retained, " re- 
duced nevertheless, to that state of purity 
and simplicity from which it had devi- 
ated." Henry VIIL, having been himself 
educated with some reference to ecclesias- 
tical life, was thoroughly skilled in music ; 
and it was his pleasure, as it was that of 
Wolsey, and others of the royal family and 
nobility, to have this part of public service 
preserved in its most solemn and appro- 
priate form. 

Edward VI., Mary, and Elizabeth, "in 
succeeding reigns, were all practical mu- 
sicians, and cherished a great fondness for 
the musical art." Queen Elizabeth, call- 
ing to the work one pre-eminently qualified 



APPENDIX. 137 

for the task, in the person of Archbishop 
Parker, was enabled to effect in this part 
of divine service great improvements, to 
which we have referred in the body of this 
work. 

Under the usurpation of Cromwell, the 
progress of sacred music w r as interrupted. 
Music was banished from the church, and 
even in a great measure from private fa- 
milies. Organs in churches and chapels 
were ordered to be taken down, and it has 
been well remarked, that u the fury of the 
populace was not less conspicuous in the 
demolition of these instruments, than in 
the impious zeal with which they disfigured 
whatever else had been used in the service 
of God." 

" On the restoration of Charles II., and 
the return of the clergy to the station and 
l2 



138 APPENDIX. 

property of which they had been despoil- 
ed, the next measure, after the establish- 
ment of the liturgy, was the revival of 
sacred melody." 

This was accomplished not without diffi- 
culty, since few persons could be found 
who were competent to lead and sustain 
the parts of this service, those who had 
formerly been engaged in this duty having 
been scattered as were their instruments 
of music. Efforts, however, were made, 
corresponding with the importance of the 
object and the necessity of the case; books 
of instruction were written; services and 
anthems composed, to supply the place of 
those which were lost ; able persons w r ere 
appointed to teach and conduct the choir ; 
and by the help of the musical taste and 
science of the king and the direct encour- 
agement given by him to the work, this 



APPENDIX. 139 

portion of the service of God was ulti- 
mately redeemed, "and established very 
nearly upon the footing on which it stands 
(in the church) at the present time." 

Previous to the turbulent period which 
followed the days of Charles L. the office 
of clerk was one of great importance in 
the musical department of the church. 
As an ecclesiastic, (being literally an as- 
sistant to the clergyman in the ministerial 
duties of his office, as the title clericus im- 
ports,) his education was suited to the sa- 
cred nature of his calling, and the impor- 
tant duties of his station. After this pe- 
riod, the office was neglected or deserted, 
and the musical art lost ground. To the 
discontinuance of this office, or to the low 
estimate which prevailed in respect to the 
requisite qualifications for it, which either 
led to its abandonment, or introduced in- 



140 APPENDIX, 

competent and unworthy persons to its 
duties, has been attributed by many, in 
great measure, the miserable minstrelsy 
which has prevailed in so great a degree in 
public worship in more modern times. The 
leaders and their choirs being altogether un* 
fitted to enjoy the beautiful simplicity, and 
to produce the happy effect contemplated 
by appropriate music, fuges and other la* 
boured pieces have been introduced which 
are as inappropriate to public worship, as 
they are generally badly performed and 
calculated to move contempt for the per- 
formers and leader and destroy the true 
feeling of devotion. 

It is here worthy of remark that the 
interests of true religion have generally 
been most advanced when sacred music 
has been most esteemed and cultivated ; 
or, perhaps it were better to say, the ad- 



APPENDIX. 141 

vancement of the art has always followed 
the revival of correct views and truly sound 
religious feeling. Appropriate sacred mu- 
sic has, also, generally found its chief ad- 
vocates and promoters among those et to 
whom the church has ever been accus- 
tomed to look up, as to her guides and in- 
structed in the worship of God." There 
is great occasion, however, for regret, that 
the clergy are not more generally and 
deeply interested in this subject and skilled 
in music. It was formerly required, by 
certain of the English Universities, that 
those who would aspire to a fellowship, 
should to a certain degree, be proficients 
in the art of music : the statutes directing 
that such shall be " bene nati, bene vestiti, 
et mediocriter docti in piano cautu." It 
were well if this were required, at least 
in Theological Schools, at the present day. 
Then might many of us who are called to 



142 APPENDIX. 

minister at the altar, be saved from the 
misfortune of conscious deficiency in the 
performance of this important duty, and 
might find ourselves in a situation to do 
more in encouraging the well-disposed, and 
assisting in the psalmody of the church. 

At the present day, that music which 
has been cherished and most approved 
by the church in every age, and for 
which she has suffered reproach, we 
have already intimated, is gradually com- 
ing into use amongst almost all the va^- 
rious denominations into which Christen- 
dom is divided. Much, however, remains 
to be done to perfect this part of divine 
service, in all our churches. The spirit of 
psalmody is abroad in the churches; but 
much is to be done to raise and establish 
this part of worship, as the best good of 
the church and the holy service of God re^ 



APPENDIX. 



143 



quire and demand. Every Pastor should 
feel his responsibility in this matter, every 
pulpit should plead the cause of sacred 
psalmody, and every family should have 
the means in their hands of a better know- 
ledge of their obligations in respect to the 
public praises of God, 



* It shall be the duty or evert mi- 
nister, WITH SUCH ASSISTANCE AS HE 
CAN OBTAIN PROM PERSONS SKILLED IN 
MUSIC, TO GIVE ORDER CONCERNING 
THE TUNES TO BE SUNG AT ANT TIME 
IN HIS CHURCH ; AND ESPECIALLY IT 
SHALL BE HIS DUTY TO SUPPRESS ALL 
LIGHT AND UNSEEMLY MUSIC, AND ALL 
INDECENCY AND IRREVERENCE IN THE 
PERFORMANCE, BY WHICH VAIN AND 
UNGODLY PERSONS PROFANE THE SER- 
VICE OF THE SANCTUARY." CariOU of 

the Protestant Episcopal Church. 



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